GIFT  OF 


TLi!l£I  DEPT. 


ST.  NICHOLAS 

BOOK  OF  PLAYS 

&  OPERETTAS 


PSYCH. 
LIBRARY 


•  ST.  NICHOLAS 
BOOK  OF  PLAYS 
OPERETTAS  • 


YORK  :  PUBLISHED  II Y 
THE  CE1STTITRY  CO.  1905 


Copyright,  1874.  1876,  1877,  1880,  1881,  1882,  1886,  1888,  1890,  1892,  1894, 
1897.  1898,  1899,  by  THE  CENTURY  Co. 

Copyright,  1900,  by 
THE  CENTURY  Co. 


Gift 


J.   F.   TAPLEY   GO. 

New  York 


PUBLISHER'S   NOTE 

The  plays  and  operettas  here  as- 
sembled were  published  originally  in 
"  St.  Nicholas,"  some  of  them  a  quar- 
ter of  a  century  ago.  u  The  Ballad  of 
Mary  Jane"  and  certain  others  have 
been  called  for  again  and  again,  and 
five  or  six  have  been  reprinted  in 
pamphlet  form .  Their  popularity  has 
suggested  the  making  of  the  present 
volume,  which  contains  all  of  the 
pieces  that  have  been  in  most  demand. 


CONTENTS 

PAGE 

THE  MODERN  AND  MEDIEVAL  BALLAD  OF  MARY  JANE  1 

ACTING  BALLADS 15 

THE  HOUSE  OF  SANTA  CLAUS         ....  23 

MOTHER  GOOSE  OPERETTA 36 

THE  LAND  OF  NOD 41 

THE  GIANT  PICTURE-BOOK 72 

SHADOW-PANTOMIMES 81 

THE  MAGIC  SWORD 93 

THE  FALSE  SIR  SANTA  CLAUS         ....  109 

A  SIXTEENTH-CENTURY  CHRISTMAS    ....  139 

CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S        .        .  153 

A  LAWN  DANCE  FOR  LITTLE  PEOPLE  ....  173 

DICKY  DOT  AND  DOTTY  DICK 180 

AN  OLD  ENGLISH  FOLK-SONG 190 

HAYDN'S  "  CHILDREN'S  SYMPHONY  "...  196 

A  TOPSYTURVY  CONCERT 200 

THE  CHANGELING                                   .        .  202 


ST.  NICHOLAS  BOOK  OF 
PLAYS  AND  OPERETTAS 


ST.  NICHOLAS  BOOK  OF 
PLAYS  AND  OPERETTAS 


THE   MODERN  AND   MEDIEVAL   BALLAD 
OF  MARY  JANE 

BY  HENRY  BALDWIN 

This  is  a  shadow-play,  which  can  be  performed  in  any  parlor. 
A  sheet  is  hung  between  the  audience  and  the  performers,  who, 
by  the  proper  arrangement  of  light  (which  can  best  be  attained 
by  experiment),  throw  their  shadows  on  the  sheet.  Somebody 
hidden  from  the  audience  reads  the  ballad  aloud. 


IT  was  a  maiden  beauteous— 

Her  name  was  Mary  Jane  j 
To  teach  the  district  school  she  walked 

Each  morning  down  the  lane. 

[She  passes  and  repasses  behind  the  curtain. 

Well  skilled  was  she  in  needlework, 

Egyptian  she  could  speak, 
Could  manufacture  griddle-cakes, 

And  jest  in  ancient  Greek. 
1 


31\  NICHOLAS  PLAYS  AND  OPERETTAS 

It  was  the  stalwart  Benjamin, 

Who  hoed  his  father's  corn ; 
He  saw  the  lovely  maiden  pass, 

At  breaking  of  the  morn. 

[He  enters  at  left. 

Deep  sighed  that  bold,  admiring  swain ; 

The  maid  vouchsafed  no  look— 
She  munched  a  sprig  of  meetin'-seed, 

And  read  her  spelling-book. 

[She  enters  at  right,  and  halts. 


THE  STALWAKT  BENJAMIN. 


A  low  obeisance  made  he  then ; 

Right  bravely  did  he  speak : 
"  There  is  no  rose  so  fair,"  he  said, 

"  As  that  upon  thy  cheek  ! 

"  And  many  a  brooch  and  silken  gown 

Will  I  bestow  on  thee, 
If  thou  wilt  leave  thy  father's  house 

And  come  and  marry  me." 


THE  BALLAD  OF  MARY  JANE 

Then  proudly  spake  that  lovely  maid : 
"  Thy  corn-patch  thou  may'st  till ! 

I  haste  to  teach  the  infant  mind, 
On  yonder  lofty  hill. 


THE  BEAUTEOUS  MAEY  JANE. 

"  Though  never  golden  brooch  have  I, 
Though  silken  gown  I  lack, 

I  will  not  wed  an  husbandman, 
So  take  thine  offer  back !  " 


•HE  TORE  IN 


HIS  RAVEN  LOCKS." 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Oh,  fiercely  blow  the  icy  blasts 

When  winter  days  begin  ! 
But  fiercer  was  the  rage  that  filled 

The  heart  of  Benjamin ! 

He  tore  in  shreds  his  raven  locks, 

And  vowed  he  'd  love  no  more. 
"  Smile  on,"  he  cried,  "  thou  haughty  maid ; 

Thou  shalt  repent  thee  sore !  " 

The  lady  turned ;  she  did  not  speak ; 

Her  tear-drops  fell  like  rain ; 

[Tears  represented  by  small  pieces  of  paper. 
Those  plaintive  words  at  last  did  pierce 

The  heart  of  Mary  Jane ! 


II 


Oh,  blithely  sang  the  soaring  lark ; 

The  morning  smiled  again  j 
Up  rose  the  sun,  with  golden  beams, 
And  up  rose  Mary  Jane. 

[The  lark  should  be  made  of  pasteboard,  and  a 
string,  passed  through  his  body,  should  be 
stretched  diagonally  across  the  sheet.  By 
another  string  fastened  to  his  head,  and 
running  over  the  upper  nail,  he  may  be  made 
to  soar.  The  sun  should  rise  by  a  string 
passed  over  a  nail  in  the  center,  and  at  the 
top  of  the  framework  on  which  the  sheet  is 
stretched.  The  lark  should  be  about  as  large 
as  the  sun. 


THE  BALLAD  OF  MARY  JANE 


HE  SUN.  THE  SOARING  LARK. 

She  gat  her  to  her  daily  task, 

As  on  the  former  morn ; 
Alack !  she  spied  not  Benjamin 

A-hoeing  of  the  corn. 

[Enter  Mary  Jane. 

No  longer,  as  she  trips  along, 

Her  merry  songs  she  sings ; 
The  tear-drops  dim  her  pretty  eyes, 

Her  lily  hands  she  wrings. 

1 

"And  art  thou  gone,  sweet  Benjamin? 

Ah !  whither  hast  thon  fled  ? 
My  spelling-book  has  charms  no  more  j 

I  would  that  I  were  dead !  " 

But  soon  her  bitter  moan  she  ceased ; 

She  viewed  her  doughty  knight, 
Delayed  not  many  leagues  from  thence, 

And  in  most  grievous  plight. 


ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

For  as  lie  to  his  husbandry 

That  day  would  fain  have  passed, 

A  monster  cow  his  path  beset, 
And  sorely  him  harassed. 


THE    COW    HARASSES   BENJAMIN. 

Upon  the  summit  of  a  wall 

He  sits,  and  dares  not  flee ; 
The  awful  beast  its  sprangling  horns 

Doth  brandish  frightfully. 

[The  cow,  made  of  pasteboard,  should  be 
fastened  to  a  broom-handle,  and  poked  in 
from  one  side.  The  smaller  the  cow  the 
better. 

"  Oh,  Mary  Jane  !  "  he  cried,  "  if  you 

But  love  me,  do  not  stay 
To  weep,  but  lend  a  friendly  hand, 

And  drive  the  cow  away !  " 

Her  apron  then  she  quickly  takes, 

And  wipes  her  streaming  eyes ; 
Not  quicker  melts  the  morning  dew 

Than  to  her  love  she  flies. 


THE  BALLAD  OF  MARY  JANE 

The  monster  turns  at  her  approach, 

It  shakes  its  ample  tail ; 
Take  heart,  O  Benjamin  !  thy  love 

Will  neither  quake  nor  quail. 


MART   JANE   WAVES   HER   PARASOL. 

Her  parasol  that  venturous  maid 

Exalted  o'er  her  head, 
Thrice  waved  it  in  the  air,  and  lo ! 

Straightway  the  monster  fled. 

Then  tarried  not  that  joyous  pair 

Fond  vows  of  love  to  make, 
But  to  the  house  of  Mary  Jane 

Themselves  they  did  betake. 

[As  the  cow  runs  away,  Benjamin  gets  down 
and  approaches  Mary  Jane  till  almost  close 
to  her.  Then,  if  both  lean  forward,  the 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


RESCUED! 

above  affecting  tableau  is  produced.  They 
then  take  hands,  and  the  lamp  is  moved 
slowly  to  one  side  and  obscured ;  this  gives 
them  the  appearance  of  walking,  and  allows 
the  father  to  enter ;  after  which  the  lamp  is 
moved  back,  and  the  lovers  reenter. 

And  out  spake  grateful  Benjamin : 

"  Forsooth,  I  had  been  dead, 
Had  Mary  Jane  not  saved  my  life 

And  her  I  fain  would  wed." 

Up  spake  her  aged  sire  then; 

Full  wrath  fully  spake  he : 
"  How  darest  thou,  thou  popinjay, 

To  ask  such  thing  of  me  ? 

"  For  wert  thou  but  a  millionaire, 

Then  would  I  not  demur ; 
Now  thou  art  but  an  husbandman, 

And  she— a  school-teacher !  n 


THE  BALLAD  OF   MAEY  JANE  9 

Oh,  sorely,  sorely,  did  they  grieve ! 

The  cruel  parient's  heart 
Inflexible  as  stone  remained, 

And  they  were  torn  apart. 

[He  motions  them  apart. 


THE  AGED  SIRE  IS  WRATHFUL. 


Ill 

And  now  has  come  Lord  Mortimer, 

A-suing  for  her  hand ; 
A  richer  nobleman  than  he 

Is  not  in  all  the  land. 

Upon  his  lordly  knees  he  sank, 

On  bended  knee  he  fell ; 
"  And  wilt  thou  not,  fair  Mary  Jane, 

Within  my  castle  dwell  ? 


10          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

"  Thou  walkest  now  with  weary  feet, 
But  thou  shalt  ride  in  state ; 

And  dine  and  sup,  like  any  queen, 
Off  my  ancestral  plate." 


LORD  MORTIMER. 


Right  scornfully  that  angry  maid 
Her  dainty  nose  upturned  ! 

She  waved  her  lily  hand,  and  thus 
His  tempting  offer  spurned : 


1  GET  HENCE  !    AVAUNT !    I  SCORN  THY  GOLD." 


THE  BALLAD   OF  MARY  JANE  11 

"  Get  hence  !  avaunt !     I  scorn  thy  gold, 

Likewise  thy  pedigree ! 
I  plighted  troth  to  Benjamin, 

Who  sails  the  briny  sea." 

[Exit  Mortimer ;  enter  father. 

"  Nay,  verily,"  her  father  said ; 

"  Braid  up  thy  golden  hair ; 
Prepare  to  die,  if  thou  wilt  not 

For  nuptials  prepare  !  " 

[Flourishes  a  pasteboard  knife. 


THE  FATHER  ENTERS. 


She  braided  up  her  golden  hair 
With  jewels  bright,  eft  soon  j 

She  clad  her  in  her  twice-dyed  gown, 
And  eke  her  thrice-patched  shoon. 

"  Oh,  Benjamin  !     Oh,  Benjamin  !  " 
Was  all  that  she  could  say  j 

She  wist  not  but  that  he  was  dead, 
Or  thousand  leagues  away. 


12         ST.  NICHOLAS  PLAYS  AND   OPERETTAS 


IV 

Alack  for  Mary  Jane !  the  knife 
Hangs  glittering  o'er  her  head ! 

Before  the  altar,  Mortimer 
Waits  his  fair  bride  to  wed. 

"  Who  knocks  upon  the  outer  gate  ? 

Oh,  father,  quickly  hie  !  " 
'  'T  is  but  the  grimy  charcoal  man ; 

We  have  no  time  to  buy !  " 


HER  SHRIEKS  NO  MERCY  WIN!" 


"  Methinks  I  hear  the  area-bell ; 

Oh,  father,  quickly  speed  !  " 
"  'T  is  but  a  pesky  book-agent ; 

Thou  hast  no  time  to  read !  " 


THE  BALLAD  OF  MARY  JANE  13 

The  fatal  knife  descends,  descends ! 

Her  shrieks  no  mercy  win  ! 
When  lo,  a  shout !— the  door  gives  way! 

In  rushes  Benjamin ! 


I  NOW  RETURN,  A  TRILLIONAIRE." 


"Full  many  a  year,  a  pirate  bold, 
1 7ve  sailed  the  Spanish  Main ; 

I  now  return,  a  trillionaire, 
To  claim  thee,  Mary  Jane  !  " 

Out  spake  her  happy  sire  then : 
"  Can  I  my  eyes  believe  ? 

Upon  your  knees,  my  children  dear, 
My  blessing  to  receive  !  " 

Alas  for  luckless  Mortimer, 
Of  love  the  hopeless  dupe ! 

He  gave  up  all  his  title-deeds, 
And  joined  a  circus  troupe. 


14          ST.    NICHOLAS  PLAYS  AND  OPERETTAS 

But  merrily  the  bells  did  ring, 

Loud  was  the  cannon's  din, 
Upon  the  day  when  Mary  Jane 

Was  wed  to  Benjamin ! 

[A  low  step-ladder,  or  table  covered  with  a 
cloth,  may  be  used  for  the  wall.  Mary  Jane's 
bonnet  can  be  made  of  a  newspaper.  Her 
father  may  wear  a  waterproof  cloak,  belted 
in,  if  a  dressing-gown  is  not  obtainable. 


ACTING   BALLADS 

BY  AMY  LOVELL 

IN  the  long  winter  evenings,  when  lessons  are  all 
learned,  supper  eaten,  and  while  bedtime  is  still  a 
good  way  off,  there  comes  a  pause  which  is  (or  should 
be)  "  known  as  the  children's  hour.'7  Everybody  is  a 
little  tired.  Boys  and  girls  stretch  themselves  again, 
and  wish  there  were  something  pleasant  to  do.  If 
there  is  not  anything  pleasant  to  do,  the  yawns  in- 
crease, the  pause  becomes  first  dull,  then  quarrelsome, 
and  the  evening  ends  unpleasantly,  or  the  boys  sidle 
toward  the  door  and  invent  errands  to  the  store  or 
the  post-office,  which  lays  the  foundation  of  a  habit 
of  being  out,  and  of  various  mischiefs. 

Now,  there  are  plenty  of  pleasant  things  which  can 
be  done  to  fill  up  this  unoccupied  hour.  The  boys 
and  girls  can  play  at  chess,  backgammon,  or  cards. 
Don't  be  shocked,  dear  papas  and  mamas,  at  the 
word  "  cards."  Cards  are  not  in  themselves  harmful, 
and  almost  all  young  people  are  likely  to  play  them 
sooner  or  later.  It  is  a  thousand  times  better  that 
they  should  do  so  at  home  as  a  permitted  amusement, 
than  away  from  home,  with  the  feeling  that  they  are 
indulging  in  a  guilty  pleasure  which  they  must  hide 
from  you.  There  can  be  reading  aloud  from  some 
really  entertaining  book.  There  are  parlor  games  of 
all  kinds,  and  some  which  tax  the  wits  a  little  without 

15 


16         ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

tiring  them.  There  are  candy-pulling,  corn-popping, 
roasting  apples  by  a  string,  telling  stories  round  the 
fire,  piano  kaleidoscope,  acting  charades.  And,  easier 
than  charades,  and  better  fun,  there  is  acting  a  ballad, 
about  which  I  particularly  want  to  tell,  because  it  is 
new  to  many  of  you,  and  in  the  long  winter  evenings 
you  may  like  to  try  it.  «^ 

Acting  a  ballad  does  not  require  as  much  prepara- 
tion as  acting  a  charade,  because  the  movement  is  all 
in  pantomime,  and  is  regulated  by  the  movement  of 
the  ballad  chosen.  It  is  necessary,  of  course,  that  all 
who  act  should  know  the  ballad,  or  should  read  it 
over  carefully  several  times,  so  as  to  be  prepared  for 
what  is  coming,  and  ready  to  express  by  their  ges- 
tures and  faces  what  is  supposed  to  be  going  on. 
Many  who  have  not  confidence  to  act  in  a  charade 
will  find  that  they  can  do  this  easily,  for  no  ready  wit 
is  needed,  and  it  often  is  much  easier  to  follow  a 
course  laid  out  for  you  than  to  invent  one  of  your 
own. 

If  there  is  a  piano  in  the  room,  and  any  one  who 
can  sing,  the  ballad  should  be  sung  slowly  and  dis- 
tinctly, with  an  accompaniment  which  introduces  an 
imitation  of  the  sounds  of  wars,  storms,  guns,  or 
whatever  else  may  transpire  in  the  ballad.  If  not,  it 
must  be  read  or  recited,  taking  care  to  pronounce 
clearly  and  give  due  emphasis  to  the  words.  The 
characters  must  come  in  at  the  proper  moment  as  the 
singing  or  reading  progresses,  and  time  their  move- 
ments to  the  movement  of  the  story.  The  ballad 
chosen  should  always  be  one  in  which  there  is  little 
relation  and  as  much  action  as  possible.  Campbell's 


ACTING  BALLADS  17 

ballad  of  "  Lord  Ullin's  Daughter  "  is  a  good  example 
of  the  sort  of  ballad  to  choose.  "  The  Young  Lochin- 
var  "  is  another,  and  that  pretty  poem,  "  Old  Mistletoe 
Bough/7  which  is  always  successful,  giving  as  it  does 
opportunity  for  quaint  groups  and  sudden  changes  of 
scene.  Others,  which  I  have  never  seen  acted,  but 
which  could  not  fail  of  effect,  are  Tennyson's  ballads 
of  "  The  Lord  of  Burleigh  "  and  "  Lady  Clare."  None 
of  these  are  funny  ballads,  although  the  improvised 
scenery,  dresses,  and  stage  properties  will  naturally 
lend  a  flavor  of  comedy  to  them  as  they  are  enacted. 
In  entertainments  of  this  sort,  grace  should  be  con- 
sulted as  well  as  comedy,  and  there  is  a  wide  differ- 
ence between  burlesquing  a  poem  and  acting  it  with 
just  that  tender  edge  of  fun  which  gives  piquancy 
without  marring  the  intention  of  the  poet. 

As  an  example  of  comical  ballad-acting,  let  us  take 
Campbell's  "Lord  Ullin's  Daughter,"  a  poem  with 
which  most  of  you  are  probably  familiar.  It  requires 
four  principal  performers,  and  two  or  three  assistants, 
who  remain  out  of  sight,  or  by  the  courtesy  of  the 
audience  are  supposed  to  be  so. 

The  curtain  rises,  revealing  the  ferryman  in  his 
boat.  There  is  no  need  of  an  actual  curtain;  a 
blanket  shawl  hung  on  two  gimlets  answers  the  pur- 
pose perfectly,  or  if  there  are  two  connecting  rooms  a 
door  can  be  opened  and  shut.  As  real  boats  are  not 
easily  obtainable  in  parlors,  it  will  be  well  to  make  a 
substitute  out  of  two  large  clothes-baskets,  which 
will  furnish  convenient  accommodation  for  three  per- 
sons. There  must  be  footstools  or  boxes  for  seats, 
and  beneath  the  boat  large  traveling- shawls  or  table- 


18          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

cloths  should  be  spread,  which  the  assistants  at  the 
sides  of  the  room  can  shake  to  imitate  the  movement 
of  waves— slightly  at  first,  but  more  and  more  im- 
petuously as  the  story  goes  on.  The  boatman  is 
naturally  in  shirt-sleeves  or  in  a  jacket  or  greatcoat, 
while  pokers  or  yardsticks  will  suffice  for  oars. 

The  other  characters  are  the  lady,  her  knight,  and 
the  father. 

The  poem  begins  thus : 

A  chieftain,  to  the  Highlands  bound, 

Cries,  "  Boatman,  do  not  tarry  ! 
And  I  '11  give  thee  a  silver  pound 

To  row  us  o'er  the  ferry." 

During  the  singing  of  this  verse  the  chief  and  lady 
enter.  The  chief  shows  the  boatman  a  piece  of 
money.  He  is  dressed  in  hat  and  tall  feather,  with  a 
plaid  shawl  arranged  to  represent  the  Highlander's 
plaid,  and  is  armed  with  a  bread-knife  or  pistols; 
he  also  carries  a  valise,  bandbox,  and  umbrella.  The 
lady  should  be  attired  in  a  wide  hat  and  waterproof 
cloak,  and  should  carry  a  bird-cage,  a  work-basket, 
and  a  parasol. 

Second  verse : 

"  Now  who  be  ye,  would  cross  Lochgyle, 

This  dark  and  stormy  water?" 
"  Oh,  I  'm  the  chief  of  Ulva's  isle, 

And  this  Lord  Ullin's  daughter." 

This  is  all  in  pantomime,  of  course.  The  boatman 
calls  attention  to  the  stormy  water,  as  the  waves  rise, 


ACTING  BALLADS  19 

and  strives  with  gestures  to  dissuade   them  from 
crossing.     Third  verse : 

"  And  fast  before  her  father's  men 

Three  days  we  ;ve  fled  together ; 
For  should  he  find  us  in  the  glen, 

My  blood  would  stain  the  heather." 

Here  the  lady  is  terrified  and  shudders,  looking 
imploringly  at  the  boatman.  He  goes  on  with  much 
action  through  the  next  : 

"  His  horsemen  hard  behind  us  ride ; 

Should  they  our  steps  discover, 
Then  who  will  cheer  my  bonny  bride 

When  they  have  slain  her  lover?" 

The  boatman  consents  to  receive  them,  and  bustles 
about  as  preparing  the  boat.  The  lady  clings  to  her 
lover  and  looks  anxiously  behind.  Next  verses : 

Out  spoke  the  hardy  Highland  wight  : 

"I  '11  go,  my  chief ;  I  ;in  ready. 
It  is  not  for  your  silver  bright, 

But  for  your  winsome  lady. 

"And  by  my  word  !  the  bonny  bird 

In  danger  shall  not  tarry ; 
So,  though  the  waves  are  raging  white, 

I  '11  row  you  o'er  the  ferry." 

They  hurry  their  luggage  into  the  boat;  the  lady 
gets  in ;  the  chief  and  the  boatman  remain  standing, 
and  look  back  for  the  pursuers. 

But  now  the  storm  increases;  the  gas  should  be 
lowered,  and  the  piano  accompaniment  should  be  a 


20          ST.  NICHOLAS   PLAYS  AND   OPERETTAS 

low,  dull  roll  in  the  bass,  with  occasional  nigh,  wild 
notes  to  represent  the  water-spirit. 

By  this  the  storm  grew  loud  apace, 

The  water- wraith  was  shrieking ; 
And  in  the  scowl  of  heaven  each  face 

Grew  dark  as  they  were  speaking. 

But  still  as  wilder  blew  the  wind, 

And  as  the  night  grew  drearer, 
Adown  the  glen  rode  armed  men — 

Their  tramping  sounded  nearer. 

A  tramping  should  be  made  in  the  hall,  gradually 
approaching  •  the  terror  of  all  in  the  boat  increases. 

"  Oh,  haste  thee,  haste  !  "  the  lady  cries, 
"Though  tempests  round  us  gather; 

I  ;11  meet  the  raging  of  the  skies, 
But  not  an  angry  father." 

The  boat  has  left  a  stormy  land, 

A  stormy  sea  before  her— 
When,  oh  !  too  strong  for  human  hand, 

The  tempest  gathered  o'er  her. 

The  lady  clings  to  her  bird-cage;  the  chief  puts 
down  his  umbrella  wide  open,  and  feebly  assists  in 
the  rowing.  The  waves  increase,  and  the  tramping 
approaches  nearer. 

And  still  they  rode  amidst  the  roar 

Of  waters  fast  prevailing. 
Lord  Ullin  reached  that  fatal  shore ; 

His  wrath  was  changed  to  wailing. 

Here  Lord  Ullin  rides  in  on  a  chair  or  cane,  with 
cloak  and  feathered  hat.  He  is  armed  with  a  lance, 


ACTING  BALLADS  21 

which  can  be  improvised  from  a  yardstick.  Seeing 
the  fearful  situation  of  things,  the  distracted  parent 
rides  frantically  up  and  down,  imploring  their  return, 
his  steed  curveting  excitedly. 

For,  sore  dismayed,  through  storm  and  shade, 

His  child  he  did  discover ; 
One  lovely  hand  she  stretched  for  aid, 

And  one  was  round  her  lover. 

"Come  back  !  come  back ! "  he  cried  with  grief, 

"Across  this  stormy  water; 
And  I  '11  forgive  your  Highland  chief, 

My  daughter !  O  my  daughter  ! " 

The  gestures  of  the  stern  father  must  show  how 
intense  is  his  anxiety.  The  boat  reels.  One  by  one 
the  things  are  thrown  overboard — bird-cage,  valise, 
umbrella,  and  work-basket.  Even  these  sacrifices  are 
in  vain.  The  boatman  endeavors  to  turn  the  boat. 

'T  was  vain— the  loud  waves  lashed  the  shore, 

Return  or  aid  preventing ; 
The  waters  wild  went  o'er  his  child, 

And  he  was  left  lamenting. 

The  entire  boat  and  its  contents  toss  and  reel,  until 
they  at  last  all  topple  over,  and  are  supposed  to  be 
submerged  in  the  wild  waters;  the  waves  (shawls) 
rise,  and  finally  cover  them  from  sight.  The  father 
remains  frantically  riding  to  and  fro,  wringing  his 
hands,  and  enacting  the  most  intense  despair.  At 
last  he  rides  off,  while  the  others  emerge  from  their 
watery  graves,  and  the  curtain  falls,  let  us  hope,  amid 
"immense  applause." 


22          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Ingenuity  is  essential  in  converting  to  use  mate- 
rials that  some  would  think  of  no  avail,  but  which 
others  quickly  adopt.  Thus  an  open  umbrella  be- 
comes an  apple-tree  with  an  apple  stuck  on  each 
point,  a  shovel  and  poker  make  a  fair  violin,  while  a 
muff-box  or  a  saucepan  does  duty  as  a  military  hat. 
This  is  much  better  fun  than  to  have  the  real  things. 
What  is  more  amusing  than  the  play  in  "  Midsummer 
Night's  Dream,"  where  a  lantern  represents  moon- 
shine, and  somebody  takes  the  part  of  a  wall,  holding 
up  his  fingers  to  make  a  cranny  for  the  lovers  to 
whisper  through ! 

Both  for  winter  and  summer  evenings  ballad-acting 
can  be  made  an  available  entertainment.  Even  in  the 
woods  at  a  picnic,  one  could  be  easily  arranged,  the 
bushes  serving  as  screen  and  green-room  for  the  char- 
acters, and  the  stage  appointments  being  furnished 
out  of  the  lunch-baskets  and  the  wearing-apparel  of 
the  audience. 


THE  HOUSE  OF  SANTA  GLAUS 

A  CHRISTMAS  FAIKY   SHOW 
BY  EDWARD  EGGLESTON 


ARRANGEMENT    OF   THE   STAGE 

The  stage,  shown  in  the  diagram,  is  about  fifteen  feet  deep  by 
twenty  in  width  in  its  main  portions.  It  may  vary  considerably 
from  these  dimensions,  according  to  the  size  of  the  hall  or  Sun- 
day-school room.  The  room  in  this  diagram  is  supposed  to  be 
forty  feet  wide.  The  stage  should  not  be  less  than  twelve  feet 
in  depth  nor  loss  than  fifteen  in  width.  The  portions  of  the 


Front  of  Stage. 
PLAN  OF  THE  STAGE. 

stage  represented  at  B  and  /may  be  on  the  same  level  of  the 
main  platform,  or  B  may  be  higher  or  lower,  and /an  incline. 
The  beauty  of  the  stage  is  greatly  enhanced  by  surrounding  it 
with  a  fence  of  pop-corn.  The  upright  posts  should  be  bits  of 
lath  eighteen  inches  high,  the  lower  end  nailed  to  the  edge  of 
the  platform,  and  the  whole  wrapped  with  strings  of  pop-corn. 
Then  draw  two  strands  of  the  corn  from  post  to  post,  to  repre- 
sent the  horizontal  rails.  At  *  there  should  be  a  gate  with  a 

23 


24         ST.  NICHOLAS  PLAYS  AND    OPERETTAS 

pointed  arch  over  the  top.  This  should  also  be  of  lath,  wrapped 
with  pop-corn.  There  should  be  three  strands  in  the  gate  and 
a  diagonal  brace.  The  pop-corn  fence  is  not  essential,  but  it  is 
a  great  addition  to  the  beauty  of  the  scene,  giving  the  stage  a 
weird  and  fairy-like  appearance,  and  contrasting  finely  with  the 
dark  green  behind.  At  x,  x,  two  small  Christmas  trees  may  be 
planted. 

The  house  A  is  nine  feet  in  length  and  six  in  depth.     It 
should  be  about  six  feet  high  at  the  eaves.     The  frame  is  of 


THE  GATE. 

studding,  and  it  is  first  covered  with  lath  nailed  six  inches  or 
more  apart.  Cedar  boughs  are  then  so  interwoven  as  to  entirely 
cover  it.  The  roof  is  thatched  in  the  same  way.  At  e  there  is 
a  chimney  made  by  knocking  out  both  ends  of  a  packing-box 
such  as  is  used  for  shoes.  The  box  is  kalsomined  or  painted  to 
look  like  stone  ;  cleats  are  nailed  around  this  chimney  near  the 
top,  to  imitate  ornamental  stonework.  The  box  is  securely 
nailed  to  the  timbers  of  the  house,  and  there  is  a  ladder  inside 
the  house,  so  arranged  that  the  lad  who  represents  Santa  Glaus 
can  put  his  head  and  shoulders  out  at  the  top.  At  b  there  is  a 


THE  HOUSE  OF  SANTA  GLAUS        25 

doorway  two  feet  wide,  in  which  is  a  door  on  hinges.  Make  it 
an  open  frame  covered  with  pink  tissue-paper.  The  window  c, 
is  two  feet  square  and  made  like  the  door,  but  intersected  with 
strings  of  pop-corn  for  sashes.  Over  the  doorway  b  is  a  trans- 
parency like  a  transom.  It  reads  "  Santa  Claus,"  arid  is  lighted 
by  a  lantern  behind.  The  house  should  be  provided  with  a 
door-bell.  Every  precaution  must  be  taken  against  fire.  The 
house  should  stand  about  two  feet  from  the  wall,  and  the  back 
may  be  left  open. 

At  a,  a,  two  pumpkin  faces  illuminated  are  suspended  or  put 
upon  any  support  that  may  be  found  convenient. 

At  B  there  should  be  either  a  miniature  tent  or  a  dense  arbor 
of  evergreens.  If  the  tent  is  used,  a  Chinese  lantern  may  be 
suspended  on  the  top  outside. 


CHARACTERS,    COSTUMES,    ETC. 

SANTA  GLAUS  should  be  a  boy  of  fourteen  or  sixteen  years  of 
age, -with  good  acting  qualities,  especially  a  sense  of  drollery. 
He  should  have  any  appropriate  costume,  wig,  mask,  etc.  He 
carries  a  snuff-box  and  a  red  or  yellow  handkerchief.  He  is 
also  provided  with  a  whistle. 

The  DWARFS  are  boys  of  ten  or  twelve  years  of  age.  They 
wear  masks  and  a  red  tunic  of  paper-muslin,  stuffed,  to  give 
them  a  hunchback  appearance.  They  carry  staffs,  little  tin 
trumpets,  stoop  as  they  walk,  and  speak  in  a  squeaky  fal- 
setto. Their  stations  are  just  inside  the  house,  at  h,  li.  They 
appear  from  behind  the  house  in  every  case  except  the  very 
last. 

The  FAIRY  QUEEN  should  be  a  little  girl  of  from  six  to  nine 
years  of  age,  dressed  in  gauze,  with  wings  of  the  same  material. 
Stripes  or  stars,  or  spangles  of  gold  paper,  add  to  the  effect  of 
her  dress.  She  wears  a  coronet  and  carries  a  wand. 

The  COMMITTEE  should  consist  of  three  girls  in  ordinary  dress. 
They  are  represented  by  X.,  Y.;  and  Z.  in  the  following  dialogue, 
but  their  real  names  should  be  used  instead  of  the  letters.  Z 
should  be  a  rather  small  girl. 


26  ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

PRELIMINARY  ARRANGEMENTS 

The  superintendent  or  pastor  conducts  the  introductory  exer- 
cises from  some  point  in  front  of  the  stage.  No  one  must  be 
seen  on  the  stage  until  the  dialogue  begins. 

At  the  time  of  beginning,  the  house  A  conceals  Santa  Claus 
and  his  two  dwarfs,  and  a  grown  person  who  has  charge  of  the 
lights  and  who  acts  as  prompter.  There  is  no  light  on  the  stage 
except  that  in  the  transparency  over  the  door,  and  that  in  the 
pumpkin  faces.  There  are  a  large  number  of  tapers  or  lamps 
inside  the  house,  carefully  arranged  to  avoid  the  danger  of  fire. 
These  are  not  lighted  until  the  signal  is  given  in  the  dialogue. 
The  fairy  queen  is  concealed  in  her  bower  at  B,  with  some  one 
who  has  charge  of  her,  and  an  automatic  music-box,  that  stands 
upon  the  floor  of  the  platform,  wound  up  and  ready  to  be  started 
at  the  proper  time.  The  committee  of  girls  sit  in  the  audience, 
and  not  together. 

After  appropriate  introductory  exercises,  a  teacher  rises  in  his 
place  and  speaks  in  substance  as  follows  : 

TEACHER.  Mr.  Superintendent,  I  see  some  very 
pleasant  decorations  here,  but  no  presents  or  refresh- 
ments for  the  scholars.  I  move  that  a  committee  of 
three  be  appointed  to  go  up  to  Fairyland  and  inquire 
of  Santa  Claus.  I  would  like  to  know  why  this  Sun- 
day-school has  been  left  out. 

ANOTHER  TEACHER.     I  second  that  motion. 

[Superintendent  puts  this  question  to  vote,  and 
declares  it  carried,  in  due  form. 

SUPERINTENDENT.  I  would  appoint— let  me  see- 
girls  are  better  at  coaxing  than  boys,  I  think— I  will 
appoint  X.,  Y.,  and  Z.  [catting  the  girls  by  their  real 
names],  who  will  please  come  forward. 

[X.,  Y.,  and  Z.  rise  from  their  places  in  their 
several  classes,  and  come  forward  to  the 
superintendent. 


THE  HOUSE  OF  SANTA  GLAUS        27 

SUPERINTENDENT.     Girls,  you  see  we  are  without 
any  candy  or  anything  of  the  sort  for  our  scholars. 
Old  Santa  Glaus  has  forgotten  us.     He  never  did  so 
before.     Now  I  want  you  three  to  proceed  to  Fairy- 
land and  see  if  you  can  find  him.     Tell  him  we  must 
have  something.     Don't  come   down  without  some- 
thing.    We  can't  have  all  these  children  disappointed. 
[The  committee  proceed  by  the  steps  to  the 
stage.     They  stop  to  examine  the  first  pump- 
kin face. 

Z.   What  a  strange  face  !     Wonder  who  it  is ! 

Y.   One  of  Santa's  tricks,  I  suppose. 

X.  They  do  say  that  he  's  full  of  fun.  But  this 
must  be  his  house.  Let 's  find  the  door.  [All  proceed 
to  the  front]  Here  it  is. 

Y.   Is  n't  it  cute  ?     I  'd  like  to  live  here. 

Z.   And  play  dolly-house? 

X.  Here  's  a  door-bell.  Santa  Claus  has  all  the 
latest  improvements,  I  declare. 

Y.   Ring  it. 

Z.   No,  don't;  I  'm  afraid. 

X.  Pshaw!  Santa  never  hurts  anybody.  Don't 
you  see  his  name  over  the  door?  [Rings.  After  a 
pause.]  I  wonder  he  don't  answer.  Maybe  he  is  n't 
at  home. 

Y,   Gone  sleigh-riding,  as  sure  as  I  live ! 

Z.  I  guess  he  's  gone  to  bed.  Maybe  his  mama 
would  n't  let  him  sit  up  late. 

X.  Let  's  look  around,  and  see  what  we  can  find. 
You  two  go  around  that  side,  and  I  '11  go  around  this. 
See  if  you  can't  find  him  in  behind  the  face  that  's 
hanging  up  there. 


28          ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

[X.  goes  to  the  left,  around  the  house,  while  Y. 
and  Z.  go  around  to  the  right.  They  proceed 
timidly  to  the  back  of  the  house,  out  of  sight 
of  the  audience,  whereupon  the  dwarfs  blow 
sharp  blasts  upon  their  horns,  and  the  girls 
all  rush  back  to  the  front  of  the  house. 

X.   I  'm  so  scared ! 

Y.  AND  Z.   Oh,  dear !     I  'm  so  scared ! 

X.  What  could  it  be  ?  Guess  old  Santa  Claus  made 
that  noise  just  for  fun.  I  wish  the  superintendent 
had  come  himself,  or  sent  some  of  the  boys ! 

Y.  I  '11  bet  the  boys  would  run  from  that  noise. 
Don't  you  ? 

X.  Yes.  Boys  never  are  as  brave  as  girls,  anyhow. 
But  let 's  go  back  again,  and  see  what  there  is  there. 

Z.    I  7m  afraid. 

X.  Well,  you  stay  here,  and  Y.  will  go  that  way, 
and  I  will  go  this  way. 

[X.  again  goes  to  the  right,  Y.  to  the  left.  They 
proceed  more  timidly  than  before  to  the  rear 
of  the  house,  disappearing  behind  it.  The 
dwarfs  blow  their  horns,  the  girls  reappear, 
crying  out  in  alarm,  and  the  dwarfs  run  out 
after  them.  The  girls  hurry  back  to  the  front 
of  the  house,  followed  by  the  dwarfs — one 
coming  round  one  end  of  the  house,  the  other 
round  the  other.  They  speak  in  high,  squeaky 
tones. 

FIRST  DWARF.   What  do  you  want  ? 
SECOND  DWARF.   What  are  you  doing  here  ? 
X.   We  want  Santa  Claus.    But  we  did  not  know 
there  were  two  Santa  Clauses. 

[The  dwarfs  laugh  long  and  loud. 


THE  HOUSE  OF  SANTA  GLAUS  29 

FIRST  DWARF.  We  are  not  Santa  Clauses.  We  are 
the  dwarfs  that  take  care  of  Santa  Claus's  store-rooms, 
full  of  goodies  aud  presents. 

SECOND  DWARF.  But  there  7s  nothing  left  to  take 
care  of  now.  Santa  7s  given  away  all  he  had  this 
Christmas. 

X.  But  we  must  see  old  Santa.  Our  Sunday-school 
has  been  left  without  anything,  and  we  want  to  see 
good  old  Claus  himself. 

FIRST  DWARF.   But  you  can't.     He  >s  asleep. 

SECOND  DWARF.  He  was  out  all  night  last  night, 
and  now  he  ;s  tired  to  death  and  sleeping  like  a  top. 
Thunder  would  n't  wake  him. 

X.   But  we  must  see  him. 

Y.  AND  Z.   Yes,  we  must. 

SECOND  DWARF.  If  you  'd  been  riding  over  roofs 
all  night— 

FIRST  DWARF.   And  climbing  down  chimneys— 

SECOND  DWARF.   And  filling  stockings— 

FIRST  DWARF.    And  Christmas  trees— 

SECOND  DWARF.  And  climbing  up  chimneys  again— 

FIRST  DWARF.  And  getting  your  hands  and  face  all 
over  soot— 

SECOND  DWARF.  And  driving  reindeer — they  do 
pull- 

BOTH  DWARFS.   I  guess  you  'd  be  sleepy  too. 

X.    But  we  must  have  something  for  the  children. 

Y.  AND  Z.   We  must  have  something. 

FIRST  DWARF.    There  is  n't  a  thing  left. 

SECOND  DWARF.   Not  a  thing. 

X.   What  will  the  superintendent  say  ? 

Y.  What  will  the  children  say  ? 


30         ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

Z.   What  will  the  infant  class  say? 

X.   And  what  will  the  deacons  say  ? 

Y.  AND  Z.   Yes,  what  will  the  deacons  say  ? 

BOTH  DWARFS.   Deacons  !     Oh,  my !    Ha,  ha ! 

[The  dwarfs  now  give  a  blast  apiece,  and  retreat 
into  their  hiding-places. 

X.   Well,  1 'm  going  to  wake  up  old  Santa  Claus. 
Y.   Maybe  he  '11  be  cross. 

X.   But  we  must  have  something.     \Rings.]     I  won- 
der he  does  n't  answer. 
Z.    Ring  louder. 
X.   Well,  here  goes.     [Rings  three  or  four  times.] 

[Santa  Claus,  appearing  at  the  top  of  the  chim- 
ney, blows  his  whistle. 

X.,  Y.,  AND  Z.    Oh,  dear ! 

SANTA  CLAUS.  Who  's  there  ?  Who  rang  my  bell, 
I  'd  like  to  know  ?  Pity  if  I  can't  sleep  Christmas 
night,  when  I  'm  tired  to  death.  Who  's  there,  I 
say  f 

X.  Oh,  you  dear  old  Santa  Claus  !  Don't  be  angry. 
Some  of  your  little  friends  have  come  to  Fairyland  to 
see  you.  Come  down. 

SANTA  CLAUS.  Ha,  ha,  ha!  Some  of  my  little 
friends  come  to  see  me !  Well,  well !  [Bloivs  his 
whistle. }  Light  up  the  house,  fairies,  light  up  the 
house.  [Whistles  again,  and  then  descends  the  chimney 
and  reappears  at  the  front  door.  The  house  is  lighted 
within.]  How  do  you  do,  girls?  How  do  you  do? 
[Shakes  hands  all  round,  and  then,  with  great  deliberation, 
takes  a  pinch  of  snuff.}  Well,  I  'm  glad  to  see  you. 
What  can  I  do  for  you  ? 


THE  HOUSE  OF  SANTA  CLAUS       31 

X.  Why,  you  see,  Santa  Claus,  our  Sunday-school 
is  left  without  anything  this  Christmas. 

SANTA  CLAUS.  [Sneezes  and  uses  his  bandana.] 
What  ?  You  don't  tell  me  so  !  What 's  the  name  of 
your  school? 

X.    The Sunday-school. 

SANTA  CLAUS.  Oh,  yes !  And  your  superintendent 

is  Mr. ?  I  know  him  like  a  book.  I  've  filled 

his  stockings  many  a  time  when  he  was  a  little  fellow. 
I  don't  know  how  I  came  to  miss  that  school.  But 
you  see  I  'm  getting  old  and  forgetful. 

Y.   How  old  are  you,  Santa  ? 

SANTA  CLAUS.  Oh,  now !  Do  you  think  I  'd  tell  you 
that? 

Z.   You  must  be  as  old  as  the  Centennial. 

SANTA  CLAUS.  Pshaw !  I  used  to  fill  George  Wash- 
ington's stockings  when  he  was  a  little  boy. 

Y.   No  !     Now,  did  you  ? 

SANTA  CLAUS.   Of  course  I  did. 

Y.   What  did  you  put  in  them  ? 

SANTA  CLAUS.  What  did  I  put  in  little  Georgie 
Washington's  stockings?  Well,  now,  that  's  more 
than  a  hundred  years  ago,  and  an  old  mail's  memory 
is  n't  strong.  I  can't  remember  but  one  thing, 

X.   What's  that? 

SANTA  CLAUS.   A  hatchet. 

Y.   Oh,  my! 

Z.   That  same  little  hatchet? 

SANTA  CLAUS.  The  very  same  little  hatchet. 
[Laughs.]  But  I  did  not  give  him  the  cherry-tree. 

X.  Yes;  but  we  must  have  something  for  our 
school,  good  Santa  Claus. 


32          ST.    NICHOLAS  PLAYS  AND   OPERETTAS 

SANTA  GLAUS.  But  you  can't.  1 7ve  given  away  all 
I  had,  and  turned  the  reindeer  out  on  the  mountains 
to  pasture,  and  the  times  are  so  hard  that  I  can't  afford 
to  hire  a  livery  team. 

X.   Yes ;  but  we  must  have  something. 

Y.   Yes ;  we  must,  dear  old  Santa. 

Z.   Yes,  indeed. 

SANTA  GLAUS.  [Takes  snuff  and  sneezes.]  Well,  what 
is  to  be  done  ?  How  many  scholars  have  you  got  this 
year? 

X.   About . 

SANTA  GLAUS.  So  many!  Why,  you  must  be 
growing.  I  hope  you  have  n't  any  Christmas  bummers 
among  them — folks  that  come  to  Sunday-school  to  get 
something  to  eat.  I  hate  that  kind. 

Y.   I  don't  think  we  have  many  of  that  sort. 

SANTA  GLAUS.  Well,  I  always  did  like  that  school, 
and  now  I  've  gone  and  forgotten  it !  I  wish  some- 
thing could  be  done.  [Blows  Ms  whistle  long  and  loud, 
and  shouts.]  Dwarfs,  here  !  Drako,  where  are  you  ? 
Krako,  come!  Wake  up!  [Whistles  again.] 

[Enter  dwarfs,  each  blowing  his  horn. 

SANTA  GLAUS.  Now,  my  little  rascals,  what  have 
you  got  for  the Sunday-school? 

BOTH  DWARFS.  [Bowing  very  low.]  Nothing,  my  lord. 

SANTA  GLAUS.  [Takes  snuff  and  sneezes.]  I  don't  see 
that  I  can  do  anything  for  you. 

X.  But  we  cannot  go  back  without  something. 
The,  children  will  cry. 

SANTA  GLAUS.   Dwarfs,  go  and  look  again. 

[They  go  back  behind  the  house  as  be- 
fore.   After  a  time  they  reappear. 


THE  HOUSE  OF  SANTA  CLAUS  33 

FIRST  DWARF.   We  cannot  find  a  thing. 

SECOND  DWARF.   Not  one  thing. 

SANTA  CLAUS.  [Takes  snuff.]  Well,  my  little  friends, 
this  is  very  embarrassing— very  •  but  I  have  n't  a 
thing  left. 

X.  But  we  can't  go  back.  What  will  the  superin- 
tendent say  ?  We  must  have  something. 

Y.   Something  or  other. 

Z.   Yes,  something. 

SANTA  CLAUS.  I  '11  go  and  see  myself.  [Exit  into 
house.  After  a  considerable  delay  reenters.]  Yes,  I  find 
a  box  of  candy,  nuts,  and  pop-corn  in  the  closet. 

X.,  Y.,  AND  Z.    Candy,  nuts,  and  pop-corn  !     Good  ! 

SANTA  CLAUS.  What  have  you  got  to  put  the  things 
in? 

X.   Why,  we  have  n't  got  anything. 

SANTA  CLAUS.  Well,  then,  the  children  will  have  to 
take  off  their  stockings  and  let  me  fill  them. 

X.,  Y.,  AND  Z.  Oh,  Santa  Claus  !  we  could  n't,  such 
a  cold  night  as  this. 

SANTA  CLAUS.  [Takes  snuff,  looks  perplexed,  ivalks 
about  the  stage.]  Well,  I  don't  know  what  to  do. 

X.   Oh,  dear! 

Y.   Oh,  dear ! 

Z.    Oh,  dear !  dear  !  lear ! 

SANTA  CLAUS.     [Starting  up.]    Now  I  have  it. 

X.   Have  what? 

SANTA  CLAUS.   An  idea. 

Z.  An  idea  ?  [Addressing  X.]  What  7s  an  idea  ? 
Can  you  put  candy  into  an  idea  ? 

X.    Be  still,  Z.     Let 's  hear  what  Santa  Claus's  idea 

may  be. 
s 


34          ST.  NICHOLAS   PLAYS  AND  OPERETTAS 

SANTA  GLAUS.   I  know  who  will  help  me  out  of  this 
trouble.     There  's  my  friend  the  Fairy  Queen. 
X.   The  Fairy  Queen  ! 
Y.    Oh,  my ! 
Z.    Goody  !  goody  !  goody ! 

[Santa  Glaus  blows  three  blasts  on  his  whistle 
and  listens.  The  music-box  in  the  fairy 
bower  begins  to  play. 

SANTA  GLAUS.   Listen  !    She  's  coming ! 
X.   Fairy  music ! 
Y.  ANDZ.   Sh-h! 

[The  fairy  comes  down  from  B,  skipping  and 
reciting  or  singing : 

In  the  secret  rocky  dell, 
There  the  fairies  love  to  dwell ; 
Where  the  stars  on  dewdrops  glance, 
There  the  fairies  love  to  dance. 
BOTH  DWARFS.  [Bowing  to  Santa  Glaus.]   The  Fairy 
Queen,  my  lord ! 

SANTA  GLAUS.  [Bowing.]  Hail,  Queen  of  the  Fairies ! 
X.,  Y.,  AND  Z.  [Bowing.]  Hail,  Queen  of  the  Fairies  ! 
FAIRY  QUEEN.  [Bowing.]    Hail,  Santa  Glaus !     Hail, 
little  friends ! 

Oh,  stocking-filler  Santa  Glaus, 
I  heard  you  whistle— what 's  the  cause? 
You  rough  and  shaggy  children's  friend, 
Why  did  you  for  a  fairy  send J? 
SANTA  GLAUS.  [Talcing  snuff. \     Why,  you  sea,  here  's 
a  Sunday-school   forgotten,  -     -  hundred  children ! 
I  want  to  give  them  something.     But  they  have  n't 
got  anything  to  put  it  in. 


THE  HOUSE  OF  SANTA  CLAUS        35 

FAIRY  QUEEN. 

How  would  fairy  stockings  do  ? 
White  or  black  or  pink  or  blue  ? 
X.   Fairy  stockings ! 
Y.    Oh,  my ! 

Z.   Goody !  goody !  goody ! 
FAIRY  QUEEN.  [  Waving  her  hand  toward  B.] 
Whatever  Santa  Glaus  shall  say, 
That  let  Fairyland  obey. 

SANTA  GLAUS.  [Entering  the  house  and  Mowing  hi* 
whistle.]  Fill  up  the  stockings,  fairies;  fill  up  the 
stockings. 

[The  dwarfs  enter,  this  time  by  the  front  door, 
and  return,  carrying  between  them  a  basket 
full  of  little  pink  tarlatan  stockings  filled 
with  candy,  nuts,  etc.,  which  are  then  dis- 
tributed to  the  children. 


MOTHER  GOOSE  OPERETTA 

(In  Three  Scenes,  Founded  upon  the  Story  of  "Bobby  Shaftoe") 
BY  G.  B.  BARTLETT 

CHARACTERS  AND   COSTUMES 

Five  or  more  pairs  of  boys  and  girls  as  peasants — with  bright 
skirts,  laced  bodices,  high-crowned  muslin  caps,  or  any  pic- 
turesque costumes  for  the  girls ;  knee-breeches  with  broad  sus- 
penders, and  white  shirts  (no  coats),  straw  hats  with  bright 
ribbons,  for  the  boys. 

HERBERT  has  a  suit  of  same  style  as  the  other  peasants,  over 
which  he  has  a  short  coat  trimmed  with  yellow  braid. 

BOBBY  SHAFTOE  also  has  a  coat,  much  plainer  than  Herbert's ; 
he  has  light  curly  hair,  and  wears  large  tin  or  silver-paper 
buckles  at  his  knees.  In  Scene  III  he  wears  a  sailor's  suit. 

MARIE,  blue  skirt,  pink  bodice,  high  cap  with  many  ribbons. 

All  except  Herbert  carry  covered  baskets,  which  (if  in  sea- 
son) can  have  vines  of  clematis  hanging  from  them  and  falling 
over  the  shoulders  of  the  peasants,  many  of  whom  carry  them 
on  their  heads.  One  table,  three  chairs,  and  one  spinning- 
wheel  will  be  needed.  If  the  actors  cannot  sing,  the  singing 
may  be  performed  by  concealed  persons. 

SCENE  I 

The  peasants  are  heard  singing  outside;  the  chorus  grows 
loud  slowly,  and  they  enter,  march  twice  around,  and  form  in  a 
semicircle,  and  sing  to  the  tune  of  "Dearest  May." 

It  is  the  pleasant  twilight,  the  sun  is  setting 
slow, 

36 


MOTHER  GOOSE  OPERETTA  37 

As  homeward  from  our  daily  task  with  merry 
step  we  go. 

It  is  the  close  of  day ; 
With  hearts  so  light  and  gay, 
In  merry  row,  we  homeward  go, 
To  rest  at  close  of  day. 
[After  singing,  they  slowly  march  out,  and  the 
music  gradually  dies  away. 

•* 

Bobby  and  Marie,  who  have  remained  as  if  in  earnest  con- 
versation, come  forward  and  sing,  to  the  tune  of  "  Lightly  Row," 
"  Yankee  Doodle,"  or  any  other  that  may  be  suited  to  the  words. 

BOBBY.   Dearest,  will  you  marry  me  ? 

For  you  know  how  I  love  thee ! 
Tell  me,  darling,  will  you  be 

The  wife  of  Bobby  Shaftoe? 

MARIE.   Robert,  pray  don't  make  me  say 
What  I  've  told  you  twice  to-day ; 
Let  us  true  friends  always  stay— 

No  more,  Bobby  Shaftoe  ! 

BOBBY.   If  you  will  not  marry  me, 
I  will  go  away  to  sea, 
And  you  nevermore  shall  be 

Aught  to  Bobby  Shaftoe  ! 

MARIE.   Dear  Bobby,  you  will  never  go, 
For  you  've  often  told  me  so  ! 
You  will  not  go  far,  I  know ! 

Good-by,  Bobby  Shaftoe ! 
[Bobby  runs  away  as  if  in  anger.     Marie  looks 
after  him,  smiling,  as  if  expecting  him  back, 
grows  anxious,  follows  the  way  he  went  a  few 


38          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

steps,  then  turns  and  sadly  goes  in  the  op- 
posite direction.  Herbert  enters  from  the 
direction  in  which  Bobby  ran,  and  follows 
Marie,  as  if  he  had  been  listening  to  the 
conversation. 


SCENE  II 

Marie  enters  very  sadly,  goes  to  the  table  at  left,  takes  up 
knitting-work,  throws  it  down  impatiently,  draws  spinning- 
wheel  to  the  right  of  the  room,  and  begins  to  spin  and  sing. 

Toil  is  sweet  when  hearts  are  light, 
Sunshine  follows  darkest  night ; 
Always  when  the  heart  is  right, 
Trouble  will  not  linger. 

Peasant  girl  enters  in  great  haste,  and  sings. 

Marie,  have  you  heard  the  news  ? 
Our  dear  friend  has  had  the  blues, 
And  has  sailed  upon  a  cruise — 

Our  dear  Bobby  Shaftoe ! 

Marie  rises  in  confusion,  upsets  the  wheel,  and  sings. 

Bobby  Shaftoe  gone  to  sea ! 
And  no  message  left  for  me? 
Oh,  it  cannot,  cannot  be  ! 

Dearest  Bobby  Shaftoe ! 

She  cries,  leaning  her  head  on  the  shoulder  of  her  friend,  and 
the  two  girls  sing  in  duet. 

Bobby  Shaftoe  's  gone  to  sea, 
Silver  buckles  on  his  knee ; 

But  he  '11  come  back  again  to  I         ' 

<  me, 

Pretty  Bobby  Shaftoe ! 


MOTHER  GOOSE  OPERETTA  39 


SCENE  III 

Three  years  are  supposed  to  have  passed.  Marie  sits  very 
sadly  at  work.  Herbert  enters  and  leans  over  her  chair.  Her- 
bert sings. 

Marie,  why  so  cold  to  me  ? 
I  was  ever  true  to  thee. 
Bobby  Shaf  toe  's  lost  at  sea ; 

Give  up  Bobby  Shaf  toe ! 

MARIE.  No,  he  is  not  lost  at  sea ! 
Fate  cannot  so  cruel  be 
As  to  tear  away  from  me 

My  own  Bobby  Shaf  toe ! 

HERBERT.   Pray,  consent  my  wife  to  be  ! 
For  I  know  he  7s  lost  at  sea, 
And  you  '11  never,  never  be 

Wife  of  Bobby  Shaf  toe ! 

Marie  kneels  down,  resting  her  head  on  the  chair,  as  if  in 
tears,  and  sings  very  sadly. 

If  he  7s  dead  or  lost  at  sea, 
I  can  never  care  for  thee ; 
Live  or  dead,  I  '11  faithful  be, 

And  true  to  Bobby  Shaftoe  ! 

Bobby  comes  rushing  in,  dressed  as  a  sailor.  Marie  runs 
toward  him  in  rapture. 

BOBBY.    Darling,  1 7ve  come  back  from  sea ; 
1 7ve  come  back  to  marry  thee, 
For  I  know  you  're  true  to  me— 
True  to  Bobby  Shaftoe ! 


40         ST.  NICHOLAS  PLAYS  AND   OPERETTAS 

MARIE.  Yes,  I  always  cared  for  thee ! 

And  now  you  have  come  from  sea, 
We  shall  always  happy  be, 

Dearest  Bobby  Shaf toe ! 

Peasants  enter  and  shake  hands  with  Bobby,  then  form  a  ring 
around  him  and  Marie,  and,  after  dancing,  sing  to  the  tune  of 
"Dearest  May." 

We  welcome  home  our  comrade,  who  wandered  far 

away, 
To  love  and  peace  and  rapture  upon  this  happy  day ! 

Oh,  happy  day  !  with  hearts  so  light  and  gay, 

We  joyous  sing  in  merry  ring, 

Oh,  happy,  happy  day ! 

NOTE.  In  the  dialogue,  the  first  singer  sings  one  half  of  the 
air,  and  the  other  concludes  it. 


THE   LAND   OF   NOD 

(An  Operetta  for  Young  Folks,  Portraying  the  Visit  of  Six  Little 
Sleepy-heads  to  the  King  of  the  Land  of  Nod,  and  the  Wonders 
Tlicy  Saw  at  his  Court.) 

BY  E.  S.  BROOKS 

CHARACTERS 

THE  KING  OF  THE  LAND  OF  NOD. 
THE  SAND  MAN 


.  Cabinet  Ministers. 
JACK  o'  DREAMS  > 

THE  DREAM  SPRITES. 

THE  DREAM  GOBLIN. 

THE  Six  LITTLE  SLEEPY-HEADS. 

THE  DREAM  PRINCE.      THE  GOBLIN  CAN-AND-MUST. 

MY  LADY  FORTUNE.      THE  QUEEN  OF  THE  DOLLIES. 

OLD  MOTHER  GOOSE.     THE  DREAM  PRINCESS. 

THE  ROYAL  PAGES. 

His  MAJESTY'S  STANDARD-BEARER. 

COSTUMES  AND   MOUNTING 

The  stage  mounting  and  the  costumes  must  depend  entirely 
upon  the  taste  and  facilities  of  the  managers.  The  more  care 
bestowed  upon  the  preparation  of  the  costumes  and  the  dressing 
of  the  stage,  the  more  effective  will  be  the  presentation.  If  no 
curtain  is  used,  the  scene  should  be  set  to  represent  a  throne- 
room,  with  a  tastefully  draped  throne  at  the  rear  center  of 
stage.  The  only  other  properties  really  necessary  are  a  wheel- 

41 


42         ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

barrow;  a  hand- wagon;  six  couches— either  small  mattresses  or 
inclined  frames  (of  this  style),  over  which  bright-colored  afghans 

may  be  thrown.  Soap-boxes, 
cut  to  this  shape  and  with 
sacking  tacked  across,  would 
do  for  these  couches.  Strings  of  artificial  flowers  for  Dream 
Sprites,  say  thirty  to  forty  inches  long,  and  a  banner  of  crim- 
son and  gold  (or  some  equally  striking  combination),  bearing 
conspicuously  a  big  poppy,  and  the  words,  "  '  To  bed !  To 
bed!'  says  Sleepy-head." 

The  costumes,  as  far  as  possible,  should  be  based  on  the 
following : 

THE  KING.  Velvet  (or  imitation)  tunic  of  cardinal  color- 
trimmed  with  black  and  gold ;  trunks  or  knee-breeches ;  long 
cardinal  stockings ;  shoes  with  gold  buckles ;  long  velvet  (or 
imitation)  robe  and  train-cloak  of  royal  purple,  trimmed  with 
ermine ;  gold  crown,  encircled  with  poppy  wreath ;  long  white 
beard ;  scepter  and  crown  jewels. 

THE  SAND  MAN.  Common  working  suit  of  a  house-painter 
(overalls,  shirt-sleeves,  etc.),  painter's  white  or  striped  apron, 
and  a  sand-sprinkler  or  flour-dredger. 

JACK  o'  DREAMS.  Regular  costume  of  a  court  jester,  party- 
colored,  with  cap  and  bells,  jester's  rattle  and  bells. 

THE  DREAM  SPRITES  (not  less  than  six,  and  more,  if  possible 
— all  little  girls).  Pretty  white  dresses,  gauze  wings,  chains 
of  artificial  flowers  as  above. 

THE  DREAM  GOBLIN.  Red  goblin  suit— tight-fitting  suit  with 
wings,  red  skullcap  with  short  horns. 

THE  Six  LITTLE  SLEEPY-HEADS.  Three  little  boys  and  three 
little  girls  (the  younger  the  better),  with  long  white  night- 
gowns over  their  clothes,  the  girls  with  nightcaps. 

THE  DREAM  PRINCE.  Fancy  court  suit. 

MY  LADY  FORTUNE.  Classic  Grecian  female  costume;  gold 
fillet  in  hair.  Wheel,  about  twelve  inches  in  diameter,  from 
an  old  bicycle,  made  to  revolve,  spokes  and  spaces  between 
them  covered  with  cardboard  and  papered  in  different  colors. 


THE  LAND  OF  NOD  43 

OLD  MOTHER  GOOSE.  Short  red  petticoat,  red  stockings,  slip- 
pers with  silver  buckles,  brown  or  fancy  overskirt  and  waist, 
high  bell-crowned  hat,  red  or  purple  cape,  large  spectacles,  and 
broom. 

THE  GOBLIN  CAN-AND-MUST.  Dull-brown,  tight-fitting  suit, 
brown  skullcap  and  short  horns,  heavy  chains  on  hands. 

THE  QUEEN  OF  THE  DOLLIES.  Any  pretty,  fancy  costume, 
gold  crown,  wand ;  she  should  have  two  or  three  prettily  dressed 
dolls. 

THE  DREAM  PRINCESS.  Fancy  court  dress. 

THE  ROYAL  PAGES.  Two  or  four  small  boys  in  fancy  court 
suits. 

THE  STANDARD-BEARER.  Fancifully  designed  semi-military 
suit. 

The  costumes  may  most  of  them  be  made  of  silesia,  which 
has  the  effect  of  silk.  The  following  ages  are  suggested  for 
children  taking  part  in  the  representation.  KING  :  stout,  well- 
voiced  boy  of  about  sixteen.  JACK  o'  DREAMS,  SAND  MAN: 
boys  of  twelve  or  fourteen.  GOBLIN  CAN-AND-MUST  :  boy  of 
thirteen.  THE  DREAM  PRINCE  :  boy  of  eleven  or  twelve. 
DREAM  GOBLIN  :  boy  of  twelve  or  thirteen.  PAGES  :  boys  of  six. 
STANDARD-BEARER  :  boy  of  eight  or  ten.  DREAM  SPRITES  :  girls 
of  ten  or  twelve.  DREAM  PRINCESS,  MY  LADY  FORTUNE, 
MOTHER  GOOSE  :  girls  of  ten  or  twelve.  QUEEN  OF  THE  DOL- 
LIES :  girl  of  eight.  LITTLE  SLEEPY-HEADS  :  children  of  from 
four  to  six. 

Appropriate  music  should  be  played  between  parts,  or  when- 
ever a  pause  occurs  in  which  music  would  add  to  the  effect. 
Any  part  for  which  a  good  singer  cannot  be  had  may  be  spoken 
instead  of  sung.  Should  all  the  parts  be  spoken,  instrumental 
music  only  would  be  required,  and  this  could  be  performed  be- 
hind the  scenes. 

THE   OPERETTA 

Enter  in  procession  the  King,  preceded  by  Standard-bearer, 
and  followed  by  the  Pages.  Music—"  Fatinitza  March,"  or  any 
other  preferred.  King  stands  on  the  platform  on  which  the 


44 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


throne  is  raised,  and  faces  the  audience.  The  Standard-bearer 
steps  back  to  one  side,  and  the  Pages  stand  on  either  side  at 
the  foot  of  the  throne.  All  salute  the  King. 


Music  by  W.  F.  SHBEWIN. 


A  la  Militaire. 


KINO. 


m 


1.  I'm  the  jol  -  ly      old    King  of      the  Realm  of  Dreams,  The 

2.  My crown  is      a      gar  -  land     of  pop  -  pies  bright,  That 

3.  Come    hith  -  er,     my      bench  -  men,  bold    and  true,  Proud 


THE  LAND  OF  NOD 


45 


Espretsivo. 


sweet,    sleep  -  y       Land      of       Nod; 

grow        in      the     Land       of       Nod; 

knights    of      the     Land      of       Nod; '.... 


And    I 
For  wher  - 


fol  -   low    the   sun  -  king's    van  -  ish  -  ing  beams,   And 
drive  round  the  world  the  black  hors  -  es     of    night,     Or 
ev    -    er       I      go,  and  what -ev  -  er       I       do,       My 


fly    when  his  morn  -  ing        glo    -    ry  streams,  For 

sometimes  a  night-mare  the  dreamers   to  fright,   As     I 
roy  -  al     old  head  must  be  guid  -  ed   by  you;      Now,... 


1  Enter— right  and  left— the  Sand  Man  and  Jack  o'  Dreams, 
who  make  each  a  low  obeisance  to  his  Majesty. 


46 


ST.   NICHOLAS  PLAYS  AND  OPERETTAS 


I  am  the  drow  -  sy  god  —  Yes, 
ride  to  the  Land  of  Nod,  The 
is  n't  that  aw  -  fully  odd  ?  Yes, 


I     am  the  drow  -  sy 

dear,  dreamy   Land    of 

cu  -  ri  -  ous,  funny  and 


god!  But  I'm  King  of     the  Night  in    my 

Nod;  And    I     wel  -  come  the  children,         all 

odd?  For  what -ev  -  er      I        do,  I      de 


Gas  -  tie 
sleep  -  y 
pend  up 


of  Dreams;  The  King  of  the  Land  of  Nod! 
and  white,  As  they  come  to  the  Land  of  Nod. 
on  you,  Tho'  I'm  King  of  the  Land  of  Nod. 

'  '  ^     _   „ 


( Use  last  four  measures  of  introduction  as  an  interlude.) 


THE  LAND  OF  NOD  47 

SAND  MAN.   [Bowing  to  the  King.] 

I— I  am  the  Sand  Man  bold ! 

And  1 7m  busy  as  busy  can  be, 
For  I  work  when  it 's  hot, 
And  I  work  when  it  7s  cold, 

As  I  scatter  my  sand  so  free. 
Close  to  the  eyes  of  the  children  dear 
I  creep— and  I  creep ;  I  peer— and  I  peer  j 

I  peer  as  with  barrow  I  plod. 
Then  I  scatter,  I  scatter  the  sand  so  free, 
Till  the  children  are  s-1-e-e-p-y  as  s-1-e-e-p-y  can  be ; 
And  oif  we  trot— the  children  with  me— 
To  the  King  of  the  Land  of  Nod. 

I— I  am  the  Sand  Man  bold ! 

I  come  when  the  night-shades  fall  j 
Then  up  to  the  children  my  barrow  I  roll, 

And  the  sand  fills  the  eyes  of  7em  all. 

[Bepeat  last  seven  lines  of  first  stanza. 

KING. 

Scatter  and  plod,  Sand  Man  odd ; 

You  're  a  trusty  old  knight  of  our  Land  of  Nod. 

JACK  o'  DREAMS.    [Bomng  low  to  the  King.} 

I  >m  the  sprightly  young,  lightly  young  Jack  o; 

Dreams, 

And  I  caper  the  livelong  night, 
While  my  jingling  bells,  with  their  tingling  swells, 

Are  the  dear  sleepy  children's  delight. 
For  I  jingle  them  here,  into  each  pearly  ear, 
And  I  jingle  them  there  again  j 


48          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

And  the  dreams  come  and  go,  and  the  dreams  fall 

and  flow, 

As  I  jingle  my  bells  again. 
And  I  dart,  and  I  whirl,  o'er  their  brains  toss  and 

twirl, 

As  I  scatter  the  fancies  odd ; 
I  >m  the  child  of  the  night,  1 'm  the  jolly  young 

sprite 
Of  the  King  of  the  Land  of  Nod. 

KING. 

Well  spoken,  my  henchmen  bold  and  true, 

Proud  knights  of  the  Land  of  Nod  ; 
But  tell  to  me,  Sand  Man,  what  do  you 

Bring  now  to  the  Land  of  Nod  f 
Just  sample  the  stock  of  your  latest  flock 

For  the  King  of  the  Land  of  Nod. 

SAND  MAN. 

O  sire !  I  bring  to  the  Realm  of  Dreams 
The  sleepiest  set  of  boys 

That  ever  the  sun-king's  vanishing  beams 
Cut  off  from  their  daylight  joys— 

The  sleepiest,  drowsiest,  laziest  set 

In  all  my  travels  I  ?ve  met  with  yet ; 
And  I  've  picked  out  three  as  a  sample,  you  see,— 

A  sample  most  funny  and  odd, — 
To  show  you  the  stock  that  comprises  the  flock 

Of  the  King  of  the  Land  of  Nod. 

KING. 

Ho !  fix  the  couches,  Jack  o'  Dreams, 
And  you,  O  Sand  Man  odd, 


THE  LAND  OF  NOD  40 

Roll  in  the  boys—without  their  noise— 
For  the  King  of  the  Land  of  Nod. 

[Low  music.1  Jack  o'  Dreams  arranges  and 
smooths  down  the  couches,  and  the  Sand 
Man  returns,  bringing  in  his  wheelbarrow 
three  little  boys  in  their  nightgowns,  fast 
asleep.  He  and  Jack  o'  Dreams  lift  them 
out  gently  and  place  them  on  their  couches. 
King  rises  to  receive  guests. 

KING.   [Joyfullij.] 

Now  nid,  nid,  nod,  my  bonny  boys. 

O  Sand  Man,  it  is  plain 
The  stock  you  bring  before  your  king 

Your  fealty  proves  again. 
Sleep  right,  sleep  tight,  with  fancies  bright, 

On  Dreamland's  pleasant  sod ; 
The  night 's  begun,  we  '11  have  some  fun, 

Says  the  King  of  the  Land  of  Nod. 
And  what,  O  Jack  o7  Dreams,  do  you 

Bring  here  to  the  Land  of  Nod  ? 
Come  !  let  us  know  what  you  have  to  show 

To  the  King  of  the  Land  of  Nod. 

JACK  o'  DREAMS. 

Great  King !  I  bring  the  sweetest  things 

That  ever  you  looked  upon, 
With  bangs  and  curls,  and  frills  and  furls— 
The  rosiest,  posiest  little  girls 

That  ever  romped  or  run  ; 

1  Gottschalk's  "Cradle  Song"  (simplified  edition);  Heller's 
"Slumber  Song"  ;  "  Swing  Song,"  by  Fontaine  ;  " Good-night," 
by  Loeschhorn ;  Lange's  " Blumenlied " ;  "Nursery  Tale,"  by 
Fradel,  or  other  selection.  Or  a  lady  may  sing  "Birds  in  the 
Night,"  by  Sullivan. 


50          ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

The  tightest,  brightest,  sauciest  lot 
That  ever  in  dreams  I  plagued. 

I  could  n't  pick  better  for  you — no,  not 

If  you  begged,  and  begged,  and  begged. 
And  of  these  there  are  three  that  I  wish  you  to  see- 
Three  sleepers  so  charming  and  odd  • 

If  Your  Majesty  please,  shall  I  bring  in  these 
For  the  King  of  the  Land  of  Nod  ? 

KING. 

Ay !  bring  them  in,  young  Jack  o'  Dreams, 

And  you,  old  Sand  Man  odd, 
Fix  the  couches  all  for  the  ladies  who  call 
On  the  King  of  the  Land  of  Nod. 

[Low  music,1  while  Jack  o'  Dreams  draws  in  a 
little  wagon  in  which  are  three  very  little 
girls,  in  their  nightgowns,  fast  asleep.  He 
and  the  Sand  Man  lift  them  carefully  out 
and  lay  them  on  the  couches.  King,  in  rap- 
ture, bends  over  each  little  girl  in  succession. 

KING. 

Oh,  my  pink !     Oh,  my  pet ! 
You  7re  the  prettiest  yet ! 
Brave  Jack  o'  Dreams  so  true, 

7T  is  very  plain  that  never  again 
A  fairer  lot  we  '11  view. 
Sleep  soft,  sleep  well,  O  girlies  fair, 

On  Dreamland's  pleasant  sod, 

While  the  Dream  Sprites  start  in  each  young  heart 
For  the  King  of  the  Land  of  Nod. 

[Stands  by  the  throne  and  waves  his  scepter. 
1  See  foot-note  on  page  49. 


THE   LAND   OF  NOD  61 

Cling,  cling,  by  my  scepter's  swing, 

By  the  wag  of  my  beard  so  odd  j 
Dream  Sprites  small,  I  summon  you  all 

To  the  King  of  the  Land  of  Nod ! 

Enter  the  Dream  Sprites,  each  with  a  chain  of  flowers.    They 
glide  in  and  out  among  the  little  sleepers. 

DREAM  SPRITES.    [In  concert.} 

We  weave,  we  weave  our  fairy  chain 

Roun^l  each  young  heart,  in  each  young  brain, 

Our  dream-spell  chain  so  sweet. 
Bright  Dream  Sprites  we,  so  gay  and  free ; 
We  come  with  tripping  feet,  with  merrily 

tripping  feet, 

To  dance  on  Dreamland's  sod, 
While  we  weave,  we  weave  our  fairy  chain 
Round  each  young  heart,  in  each  young  brain, 
That  beats  and  throbs  in  the  sleepy  train 

Of  the  King  of  the  Land  of  Nod. 
Enter  the  Dream  Goblin  on  tiptoe,  with  finger  raised. 

DREAM  GOBLIN. 

But  if  some  children  eat  too  much, 

Or  on  their  backs  recline, 
I  jump  and  bump  on  all  of  such, 

Until  they  groan  and  whine. 
'T  is  not  my  fault,  you  '11  all  agree— 
I  'm  naught  but  a  goblin,  as  you  see, 

And  I  dance  on  Dreamland's  sod. 
But  if  children  will  stuff,  why— that 's  enough  j 
I  know  what  to  do,  for  I  'm  "  up  to  snuff," 
For  the  King  of  the  Land  of  Nod. 


52 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


KING. 

Now  weave  your  chains,  ye  Dream  Sprites  fair, 
And  call  the  Dreams  from  the  misty  air. 

Stand  back,  O  Goblin  odd ! 
Old  Sand  Man,  scatter  your  sand  apace 
O  7er  each  drooping  eye,  on  each  little  face  j 
And  Jack  o'  Dreams,  jingle  your  merry  bells 
Till  the  tinkling  tangle  falls  and  swells, 
While  trooping  from  Dreamland's  pleasant  lanes 
Come  the  Dreams  through  the  ring  of  rosy  chains, 
Come  the  Dreams  so  rare  through  the  misty  air, 

To  the  King  of  the  Land  of  Nod. 

DREAM  SPRITES'  WEAVING  SONG 

Music  composed  by  ANTHONY  REIFF.l 


Andante. 


Copyright,  1880,  by  Anthony  Reiff. 


THE  LAND  OV  NOD 


53 


£fe$==t- 


air; 


Come,      come,         come, 


Come    to       these     chil  -   dren     fair. 


Come  to    these  chil-dren  fair.  Soft    and     low, 


pp 


54          ST.  NICHOLAS   PLAYS  AND  OPERETTAS 


Soft    and    low,     Sing    to    each  list-'ning  ear, 


Sing    to    each    list'ning   ear;  Fall     and  flow, 


Dreams  of     the     air,    ap  -  pear!  Here     ap  -  pear, 


THE  LAND  OF  NOD  55 

Da  Capo  dal  Segno  al  Fine. 


Here   ap-pear,  Dreams  of  the  air,   ap-pear! 


KING. 

Here,  here,  children  dear ! 
Now,  by  my  scepter's  swing, 

I  hold  you  all  in  my  mystic  thrall, 
Fast  bound  in  my  fairy  ring  j 

Eyes  bright  closed  tight,  rest  ye  on  Dreamland's  sod. 
As  your  slumbers  you  keep,  speak  the  language  of 

sleep 
To  the  King  of  the  Land  of  Nod. 


•Sfx*  LITTLE  SLEEPY-HEADS.     [Sitting  up  in  bed,  facing 

the  audience,  and  nodding  their  heads  sleepily.] 
We  are  £§k  Little  Sleepy-heads  just  from  the  earth, 

To  visit  the  Land  of  Nod. 
Our  lessons  are  over,  and  so  is  our  fun ; 
And  after  our  romp,  and  after  our  run, 

Right  up  to  our  beds  we  plod  j 
And  when  mama  is  kissed,  and  prayers  are  said, 
Why— we  drowsily,  dreamily  tumble  in  bed, 
And  are  off  to  the  Land  of  Nod. 

[Fall  sleepily  on  their  couches  again. 


56          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


KING. 


Now  raise  the  call,  my  subjects  all, 
As  ye  gather  on  Dreamland's  sod. 

Bid  the  Dreams  appear  to  the  children  here 
And  the  King  of  the  Land  of  Nod. 


INCANTATION  CHORUS  [All  sing] 

Music  by  ANTHONY  EEIFPJ 


is     _      .      s 


Mer-ri-  ly,  mer-ri  -  ly    here  we    sing,  Cheer-i  -  ly,  cheer-i  -  ly 

1 


•  -jg  p-      — ^       ~!*T 


Copyright,  1880,  by  Anthony  Reiff. 


THE  LAND  OF  NOD 


67 


let      it        ring,        Ring,  ring  thro'  the    mist  -  y      air; 

3^S^5  ~r    I  ""' "     ' ^*^^ — .. ^ _ — 


Sprightly,  0!     lightly,  0!   Come    at  our  call;  Hith-er    come, 


hith  -  er  come,  Hith-er  come,  one    and    all!   Hith-er   come, 


d-ts — cr: 


hith  -  er    come,  Come  to  these  chil-dren    fair. 


58          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


SECOND  CHORUS. 
4s 


Glid  -  ing,   slid  -  ing,  full     of    joy 


hast  -  en,   girl    and    boy.    A-sleep,   a  -  sleep   on 


Dream-land's  sod,    Quickly,  oh,  quickly  we      bid    you  come. 


& 


Drow  -  si  -  ly,    drow  -  si  -  ly,     Crooning  with   buzz  and  hum, 


p 


-*f- ^ =M 


THE  LAND  OF  NOD 


59 


tJ  -»-     -*•     •»'     •»•  '»•   "*'     '*•     •*  •    •*-   -*- 


To    the  King    of  the  Land  of    Nod,  The  King  of  the  Land  of 


Says   the   King  of    the  La_nd   of    Nod.    Buzz-buzz, 

EfEElfeEfeE 


f 


23E±5==f 


Buzz  -  buzz,  Says    the  King    of     the  Land    of     Nod. 


60          ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

[As  the  buzz-buzz  chorus  is  repeated,  with  nod- 
ding motion  and  music  accompaniment,  the 
Six  Dreams  silently  enter  and  stand  behind 
the  little  sleepers. 

THE  DREAM  PRINCE.    [Steps  in  front  of  first  little  girl  ] 
I  'm  the  gallant  Prince  of  the  Fairy  Isles 

That  float  in  the  mists  of  story, 
1 7m  the  glittering  Prince  of  the  Realm  of  Smiles, 

And  I  tread  the  paths  of  glory. 
I  call  the  bright  flush  to  each  eager  cheek, 

As  my  deeds  are  read  with  rapture, 
And  the  dangers  I  face  and  the  words  I  speak 

Are  certain  all  hearts  to  capture. 
Oh,  I  Ve  danced  in  the  brains  of  countless  girls, 

As  they  Ve  read  with  joy  the  story 
Of  my  wondrous  treasures  of  gold  and  pearls, 

And  my  marvelous  deeds  of  glory. 
I  'm  the  Prince  who  glitters  on  many  a  page 

Of  many  a  fairy  story, 
Ever  young  and  brave,  as  from  age  to  age 

I  reign  in  perennial  glory ; 
And  I  come  to-night  at  the  call  of  my  King, 

To  dance  through  your  sleep,  dream-laden, 
And  many  a  happy  thought  to  bring 

To  my  rare  little,  fair  little  maiden. 

[Shakes  his  sword  aloft. 

Here  's  my  strong  right  arm,  that  shall  shield  from 
harm 

This  Queen  of  my  Realm  of  Story ; 
I  'm  your  Prince  so  true,  and  I  come  to  you, 

Filling  your  dreams  with  glory. 

[Steps  behind  her  again. 


THE  LAND  OF  NOD  61 

KING. 

Right  gallantly  spoken,  my  brave  young  Prince ; 

No  knight  of  my  realm  has  trod 
More  loyal  than  you  for  the  pleasures  true 

Of  the  King  of  the  Land  of  Nod. 

MY  LADY  FORTUNE.    [To  first  little  boy.] 

With  My  Lady  Fortune's  wheel, 
Turning  ever,  woe  or  weal, 
Into  every  life  I  steal, 

As  to  you,  my  boy. 
Listen,  while  I  tell  to  you 
All  I  'm  able  now  to  do, 
If  my  aid  you  rightly  sue, 

For  your  future  joy. 
With  my  wheel,  I  '11  turn  and  turn 
All  the  joys  for  which  you  yearn— 
High  and  leaping  thoughts  that  burn 

In  your  heart  so  bright. 
Wealth  and  health,  and  honor,  too, 
All  that 's  noble,  brave,  and  true, 
With  my  wheel  I  turn  for  you 

In  your  dreams  to-night. 
But,  my  boy,  remember  this— 
Guard  your  heart,  lest  Fortune's  kiss 
Turn  your  noble  aims  amiss 

To  the  ditch  of  pride ; 
Wealth  and  health  may  sometimes  pall ; 
Pride  e'er  goes  before  a  fall ; 
With  good  luck  be  wise  withal  j 

Never  worth  deride. 
Fortune  comes  from  patient  heart, 


62          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Pleasures,  too,  from  kindness  start. 
Luck  from  pluck  should  never  part ; 

So,  my  boy,  be  strong ! 
Ever  to  yourself  be  true , 
Help  the  needy  ones  who  sue  j 
Upright  be  and  manly,  too, 

Victor  over  wrong. 

KING. 

Hurrah  for  My  Lady  Fortune's  wheel ! 

May  it  turn  full  many  a  rod, 
Never  for  woe,  but  ever  for  weal, 

Says  the  King  of  the  Land  of  Nod. 

OLD  MOTHER  GOOSE.   [To  second  little  girl.] 
Over  the  hills  and  far  away, 
Sailing  aloft  on  my  broomstick  gay, 
Out  from  the  Land  of  the  Long  Ago, 
Out  from  the  Realm  of  the  Want  to  Know, 
Scattering  song-seeds  high  and  low, 
Travel  I  fast  to  the  children. 

Into  your  dreams  I  bring  to-night 
Snatches  of  song  and  of  story  bright, 
Glimpses  of  what  you  know— oh,  so  well ! 
From  the  man  who  cries,  "  Young  lambs  to  sell," 
To  the  poor  drowned  kitty  and  ding-dong  bell, 
And  dear  old  Mother  Hubbard. 

Old  King  Cole  and  his  Fiddlers  Three, 
The  Wise  Men  sailing  their  bowl  to  sea; 
Humpty-dumpty,  the  Mouse  in  the  Clock, 


THE  LAND  OF  NOD  63 

Taffy  the  Welshman,  who  got  such  a  knock, 
Little  Bo-peep  and  her  tailless  flock, 
And  the  House  that  Jack  Built  jumble. 

Soon  from  your  life  I  fade  away ; 

Treasure,  my  dear,  to  your  latest  day 
The  songs  I  Ve  sung  and  the  truths  I  Ve  taught, 
The  mirth  and  laughter  that  oft  I  Ve  brought, 
The  sense  my  nonsense  has  ever  wrought, 

And  the  blessing  of  Mother  Goose. 

KING. 

Dear  Mrs.  Goose,  I  'm  proud  to  see 

You  here  on  Dreamland's  sod ; 
And  ever  to  you  my  castle  is  free, 
Says  the  King  of  the  Land  ofJNod. 

THE  GOBLIN  CAN-AND-MUST.   [To  second  little  boy.] 

Clank  !  clank !  in  my  dungeon  dank, 

I  live  far  down  among  chains  and  dust ; 

And  I  say  to  each  girl,  and  I  say  to  each  boy, 

1 7m  the  grim  old  Goblin  Can-and-Must. 
When  they  go  to  bed  ugly,  and  cross,  and  bad, 
Leaving  mother  and  father  so  sorry  ami  sad, 
Then  I  come— and  I  stand— and  I  say  : 

[Shaking  his  finger. 

Little  boy,  little  boy,  you  are  wrong,  you  are 

wrong ! 

And  this  is  the  burden  of  my  song : 
.What  your  parents  say  do  should  be  easy  for 

you, 

And  you  can  and  must  obey. 


64          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Yes,  you  can  and  must  do  right,  do  right  ; 

And  however  you  squirm  and  twist, 
I  shall  come  and  shall  stand  in  your  dreams  at  night  ; 
And  they  '11  never  be  happy,  and  never  be  bright, 

Until  love  your  heart  has  kissed, 
And  you  're  ready  to  say,  on  the  very  next  day, 
"  My  parents  I  can  and  must  obey." 
Then  away  from  your  dreams  to  his  chains  and  dust 
Will  vanish  the  Goblin  Can-and-Must ! 

KING. 

You  're  out  of  place,  Mr.  Can-and-Must !     Go 
From  pleasant  Dreamland's  sod  ! 
There  's  not  a  boy— 

[Here  Can-and-Must  shakes  his  head,  and 
points  to  second  little  boy  in  proof  of  his 
statement. 

What— no  ?     Why,— sho  ! 
Says  the  King  of  the  Land  of  Nod. 

QUEEN  OF  THE  DOLLIES.    [To  third  little  girl] 

Little  one,  pretty  one, 
Sleeping  so  sound, 

Resting  so  calmly  on  Sleepyland's  ground, 
Open  your  heart  to  a  dream  of  delight, 
Open  your  dream-lids  for  me,  dear,  to-night ; 
Open  your  dream-eyes  to  see  what  I  bring, 
Open  your  dream-ears  to  hear  what  I  sing  j 
List  to  me,  turn  to  me,  here  as  I  stand, 
The  Queen  of  the  Dollies 
From  bright  Dollyland. 


THE  LAND  OF   NOD  65 

Small  dreamer,  wee  dreamer, 
Into  your  heart 

Now,  with  my  fancies  and  visions,  I  dart  j 
Visions  of  dollies  all  satin  and  puff, 
Visions  of  dollies  in  azure  and  buff , 
Cloth  of  gold,  silver  thread,  velvets  so  rare, 
Gossamer  laces,— fair  faces,  real  hair,— 
Bonnets,  and  bracelets,  and  jewels  so  grand— 
Oh,  sweet  are  the  dollies 
Of  bright  Dollyland. 

Precious  one,  little  one, 
Come,  will  you  go 

Off  with  the  Queen  to  the  wonders  she  '11  show  ? 
Make  your  own  heart,  then,  a  land  of  delight, 
Fair  with  life's  sunshine,  with  love's  glances  bright. 
Then  shall  we  float,  dear,  in  dreams  soft  and  sweet, 
Oif  to  the  joy-gates  and  down  the  fair  street,— 
Into  the  palace,  and  there,  hand  in  hand, 

Reign  both— Queens  of  Dollies 

In  bright  Dollyland. 

KING. 

And  I  will  go,  too,  fair  Queen,  with  you, 

To  Dollyland's  beautiful  sod. 
Yes,  your  Majesty  bright,  we  will  go  to-night, 

Says  the  King  of  the  Land  of  Nod. 

THE  DREAM  PRINCESS.    {To  third  little  boy.] 
Daisies  and  buttercups  lowly  bend- 
Bend  for  me  as  I  pass ; 
For  the  Queen  of  the  Dreams  to  this  boy  doth  send 


66  ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

His  own  little,  sweet  little  lass. 

0  roses  bright,  and  violets,  too, 
Rejoice  as  so  swiftly  I  pass; 

1  shall  dance  and  nutter  his  day-dreams  through— 
I  'm  his  own  little,  sweet  little  lass. 

O  Powers  above  !     In  your  infinite  love, 
Make  him  gentle,  and  brave,  and  strong; 

Make  him  fearless  and  true,  and  manly,  too, 
As  ye  hasten  his  years  along. 

O  Prince  of  the  Isles  of  Beautiful  Smiles, 
Send  us  pleasure  and  happiness  rare ; 

Send  us  favoring  tides  as  our  ship  gaily  glides 
Down  Life's  flowing  river  so  fair. 

KING. 

Well,  well,  my  brave  boy,  there  '11  be  nothing  but 
joy 

In  your  pathway — so  soon  to  be  trod. 
May  this  sweet  little  lass  make  it  all  come  to  pass, 

Says  the  King  of  the  Land  of  Nod. 

JACK  o'  DREAMS.    [Rushing  in  at  right] 
Great  King !  the  sun  is  on  the  run 

The  lamps  of  day  to  light. 
'T  is  time  to  go,  oho  !  oho  ! 

With  the  vanishing  shades  of  night. 
Dismiss  your  court,  break  off  your  sport ; 

'T  is  time  that  your  way  you  trod 
Around  Cape  Horn,  ere  day  is  born, 

To  the  opposite  Land  of  Nod. 


THE  LAND  OF   NOD 


67 


SAND  MAN.   [Rushing  in  at  left.] 

Too  true,  too  true  !     Great  King,  for  you 

The  horses  of  night  I  Ve  hitched 
To  your  chariot  grand,  and  a  fresh  load  of  sand 

Into  my  barrow  I  Ve  pitched. 
So,  let  us  be  off !  be  off !  be  off ! 

To  China's  celestial  sod, 
To  hold  the  court,  and  renew  the  sport, 
Of  the  King  of  the  Land  of  Nod. 

[Spirited  music— "Racquet  Galop,"  Simmons, 
"Full  of  Joy  Galop,"  Fahrbach,  "Boccaccio 
March,"  or  other  selection. 

KING.   [Rising.] 

Gather  and  plod,  gather  and  plod ; 
Up  and  away  from  the  Land  of  Nod ! 

SAND  MAN  AND  JACK  or  DREAMS.   [Together.] 
Goblins,  sprites,  and  dreamy  ring, 
Gather,  gather  round  your  King, 

Here  on  Dreamland's  sod. 
Bound  the  world  we  now  must  go, 
Ere  the  sun  his  face  doth  show 

In  this  Land  of  Nod. 

All  the  characters  form  in  circle  around  the  children,  and 
all  excepting  the  King  sing  or  repeat  together : 


Music  by  W.  F.  SHER  WIN. 


68          ST.    NICHOLAS  PLAYS  AND  OPERETTAS 

To  THE  CHILDREN.  Softly. 


(  Chil  -  dren  dear,    Sleep  -  ing    here,     Pare  you,   fare   you 
(  Pleasures  bright  Round  you    light,    Hap  -  py     chil  -  dren 


— m — »      » — r~~*> — 


I  I 


To  THE  KING.     / 


well!  Might  -   y      King,     Break     the      ring 

all.  Might  -   y       King,      Break     the      ring 


To  THE  CHILDREN. 


THE  LAND  OF  NOD 


69 


Wake!  wake!  the 

i 


spell   we  break   Of  the  King  of  the  Land   of    Nod. 


II 


-&- 

— . J '   .- 


—mv v r-^ <m — — ^ 

=tH          I Vm  ~*    _ti::p-^=^I 

-fr- fr-—  +^m— 

•  T  ' 


KING.    [From  his  throne,  using  music  of  first  song.} 
1 7m  the  jolly  old  King  of  the  Realm  of  Dreams, 

The  sweet,  sleepy  Land  of  Nod. 
But  I  fly  from  the  sun-king's  morning  beams 
To  the  Kingdom  of  Night  and  the  Castle  of  Dreams 
Far  away  in  the  Land  of  Nod- 
In  the  Chinaman's  Land  of  Nod  • 
For  1 7m  no  good  at  all  when  the  sunlight  streams— 
I  am  King  of  the  Land  of  Nod ! 

[Descends  from  the  throne. 


70          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Gather  round  me,  henchmen  bold  and  true, 

Proud  knights  of  the  Land  of  Nod  j 
Bear  your  monarch  away  round  the  world  with  you. 

[To  the  children.]   God-speed  ye,  dear  children ! 

Whatever  you  do, 
Come  again  to  the  Land  of  Nod. 
Wake,  boys  !  and  wake,  girls  !  here  's  the  day  shining 

through, 
Says  the  King  of  the  Land  of  Nod. 

[All  pass  off  in  procession,  Standard-bearer 
leading,  followed  by  the  King  and  his  Pages, 
Sand  Man,  Jack  o'  Dreams,  Dream  Sprites, 
Dreams,  and  Goblins.  As  they  move  off, 
they  sing  in  chorus  the  following : 

GOOD-BY  SONG 

(Use  the  music  of  the  Incantation  Chorus,  on  page  56) 

Tra-la-la,  la-la-la,  soft  and  slow, 
Singing  merrily,  now  we  go 

Off  through  the  misty  air. 
Waken,  O  little  ones !     Here  is  the  dawn. 
Wake,  with  the  flush  of  the  rosy  morn 

Tingeing  each  cheek  so  fair. 

Soft  we  go,  slow  we  go ;  now  farewell. 

Dreamers,  awake,  we  break  the  spell. 
Haste  ye  from  Dreamland's  sod ; 

Good  night !  Good  morning !  say  King  and  court. 

Rouse  ye,  O  children !  waken  to  sport- 
Farewell  to  the  Land  of  Nod. 


THE  LAND  OF  NOD  71 

Good-by!  Good-by! 
Says  the  King  of  the  Land  of  Nod ; 

Good-by !  Good-by ! 
Says  the  King  of  the  Land  of  Nod. 

[When  the  last  strains  of  the  Good-by  Song  die 
away,  and  all  is  quiet,  the  Six  Little  Sleepy- 
heads begin  to  stir  and  stretch.  Low  music, 
—  "Nursery  Tale,"  by  Fradel,  or  "Blumen- 
lied,"  by  Lange,  — during  which  the  Six  Little 
Sleepy-heads  sit  up  on  the  edge  of  their 
couches,  rub  their  eyes,  and  finally  become 
wide  awake. 

Six  LITTLE  SLEEPY-HEADS.     [All  together.] 

Oh  !— oh  !  What  a  beautiful  dream  !  What  a— 
Why!  see  all  the  people!  Why,  where  are  we? 
Oh !  Mama !  Mama ! 

[All  run  off  hastily. 


THE   GIANT   PICTURE-BOOK 

(A  New  Style  of  Tableaux  Vivants) 
BY  G.  B.  BARTLETT 

This  curious  novelty  can  be  produced  with  very  little  trouble 
in  any  parlor,  by  children,  for  the  amusement  of  their  friends, 
or  in  a  public  hall. 

A  little  girl  dressed  in  white  is  discovered  on  a  couch  strewn 
with  picture-books  and  toys,  as  if  she  had  fallen  asleep  at  play. 
She  is  dreaming  of  the  pictures  as  they  are  shown  in  the  great 
book  which  leans  against  the  wall  in  the  center  at  her  right. 
The  Fairy  Godmother  rises  from  behind  the  couch,  and  stands 
on  a  cricket  above  and  behind  the  child.  She  is  dressed  in  red 
(paper-muslin  or  some  cheap  material),  with  long  pointed  waist 
over  a  black  skirt.  Her  high,  pointed  hat  and  her  shoes  and 
stockings  are  red,  and  she  wears  a  white  ruff  about  her  neck, 
and  another  inside  her  hat,  which  has  a  wide  black  band  and  a 
gilt  buckle. 

She  holds  in  her  right  hand  a  cane  with  a  bar  across  the  top, 
and  after  saluting  the  spectators,  she  sings  : 

Sleep,  darling,  sleep  ! 

My  fairy  watch  I  keep  ; 
In  dreamy  visions  I  call  to  view 
Your  childhood's  friends  so  tried  and  true — 

Sleep,  darling,  sleep ! 

The  Fairy  Godmother  then  springs  down  from  her  perch,  and 
opens  the  picture-book  (which  will  be  explained  hereafter), 
taking  care  to  open  the  cover  and  fly-leaf  together,  and  a  life- 
size  picture  is  seen ;  after  waiting  a  moment  she  shuts  the 
plain  or  fly  leaf,  which  she  opens  again  as  soon  as  the  picture 
has  been  changed  ;  and  so  on,  until  the  effect  produced  resem- 

72 


THE  GIANT  PICTURE-BOOK  73 

bles  an  actual  exhibition  of  a  great  picture-book  by  turning 
over  its  leaves. 

When  all  the  pictures  of  one  story  or  series  have  been  shown, 
the  Fairy  may  shut  the  book,  which  will  be  the  signal  for  the 
curtain  to  be  dropped,  or  for  the  folding-doors  in  front  of  the 
sleeping  child  to  be  closed.  After  all  the  pictures  selected  for 
the  evening  have  been  shown,  the  characters,  still  in  costume, 
are  displayed  in  one  group  around  the  room,  or  stage,  in  a 
semicircle,  which  is  opened  in  the  center  to  allow  the  opened 
book,  still  containing  a  lovely  picture,  to  be  shown  also. 

After  they  have  remained  still  in  tableau  for  one  moment,  the 
Fairy,  who  has  resumed  her  place  upon  the  high  cricket,  waves 
her  cane  and  sings  to  some  pretty  lullaby  tune  the  following 
verse,  in  which  all  join  ;  during  which  the  little  girl  wakes,  rubs 
her  eyes,  jumps  off  the  couch  into  the  center  of  the  room,  and 
makes  a  bow  to  each  one  in  order ;  they  return  her  civility,  and 
all  bow  to  the  audience  as  the  curtain  falls. 

Wake,  darling,  wake ! 

For  we  our  leaves  must  take, 
And  go  right  back  to  our  picture-book, 
In  which  the  little  ones  love  to  look. 

Wake,  darling,  wake  ! 

Now  we  must  explain  how  the  picture-book  is  made,  as  it  can 
be  used  hundreds  of  times  for  all  sorts  of  pictures.  By  a  little 
change  of  decoration  on  the  cover,  it  can  serve  as  a  history  in 
which  historical  pictures  can  be  shown,  or  it  can  be  made  to 
illustrate  miscellaneous  selections,  or  some  well-known  story. 
Place  a  long,  solid  table  against  the  back  wall  in  the  exact  cen- 
ter, and  procure  two  boards  one  inch  thick,  six  inches  wide,  and 
just  long  enough  to  touch  the  ceiling  when  they  stand  upright, 
leaning  against  the  table.  They  must  fit  well,  for  they  must  be 
firmly  fastened  to  the  floor,  as  well  as  to  each  of  the  front 
corners  of  this  table.  Having  found  the  exact  height  of  the 
boards,  lay  them  on  the  floor,  and  see  that  they  are  straight  and 
parallel  and  just  four  and  a  half  feet  apart.  Fasten  upon  them 
four  strips  of  board  six  inches  wide  and  five  and  a  half  feet  long, 
one  at  each  end  of  the  boards,  one  at  thirty  inches  from  the 


74          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

bottom,  and  one  six  feet  above  the  last-named.  The  strips  must 
be  fastened  firmly  with  two-inch  screws  to  each  board,  going 
through  one  into  the  other.  Tack  white  bleached  muslin  on 
the  upper  strip,  and  draw  it  tight  by  tacking  it  to  the  strip  next 
below ;  then  fasten  another  piece  from  the  lowest  strip  to  the 
strip  which  is  thirty  inches  above  it.  Tack  both  pieces  of  cloth 
also  to  the  outer  edges  of  the  long  boards,  and  cover  all  the 
cloth  and  the  boards  which  show  with  white  or  tinted  printing- 
paper  ;  after  this  is  done  you  will  have  an  opening  six  feet  high 
and  four  and  a  half  feet  wide.  Then  raise  the  whole  until  it  is 
upright,  and  fasten  it  to  the  table  by  means  of  the  second  strip, 
which  will  lean  against  it,  as  most  tables  are  about  thirty  inches 
high.  If  there  should  not  be  a  chandelier  near  in  front  to  light 
it  sufficiently,  a  gas  rod  with  ten  burners  in  it  can  be  placed  on 
the  inner  side  of  the  upper  bar,  and  fed  with  an  elastic  tube, 
which  can  be  arranged  by  a  plumber  at  a  trifling  expense ;  but 
unless  a  very  elaborate  exhibition  is  proposed,  the  ordinary 
light  will  probably  answer.  Shawls  or  curtains  are  hung  on 
each  side  of  this  frame  to  the  corners  of  the  room,  which  will 
allow  a  passage  for  the  performers,  and  a  chair  is  placed  at 
each  end  of  the  table  so  that  they  can  step  up  and  down  out  of 
the  frame,  behind  which  a  curtain  of  dull-green  cambric  is 
tacked  on  the  back  wall.  The  performers  are  to  stand  in  a  line 
behind  the  side  curtains,  at  the  right  side  of  the  hidden  table, 
ready  to  step  into  the  frame  the  moment  the  fly-leaf  is  shut  and 
the  former  occupants  have  stepped  down. 

The  fly-leaf  must  be  made  by  covering  a  light  wooden  frame 
with  muslin,  on  which  printing-paper  is  pasted.  It  must  be  as 
high  as  the  ceiling,  and  five  and  a  half  feet  wide,  and  it  is  hung 
on  common  hinges  at  the  right  outer  edge  of  the  upright  board 
which  forms  one  side  of  the  frame.  Behind  these  hinges  a  long 
strip  of  board,  two  inches  thick  and  the  height  from  the  floor  to 
the  ceiling,  is  securely  nailed,  to  hold  the  hinges  of  the  cover, 
so  that  it  can  swing  freely  apart  from  the  fly-leaf  without  inter- 
fering with  its  motion ;  for  although  the  fly-leaf  is  often  opened 
with  the  cover,  it  is  closed  by  itself  when  the  pictures  are 
changing,  as  the  cover  is  only  shut  when  one  set  of  pictures  is 
ended.  The  cover  is  like  the  fly-leaf,  only  that  it  is  decorated 


THE   GIANT   PICTUEE-BOOK  75 

with  pictures  or  ornaments  at  the  corners  and  margin,  and  if  in 
a  large  room  it  might  have  the  title  of  the  story  to  be  shown. 
These  titles  can  be  made  on  strips  of  paper  eight  inches  wide 
and  three  feet  long,  with  black  or  colored  chalk  crayons,  and 
can  be  changed  whenever  the  curtain  is  shut.  If  for  the  enter 
tainment  of  little  children,  the  Fairy  can  tell  the  stories  (which 
are  too  well  known  to  require  any  description  here),  or  she  can 
read  any  of  the  stories  aloud  if  she  has  no  gift  at  story-telling. 
In  the  sketches  of  pictures  introduced  here  the  very  effective 
costumes  and  properties  can  be  furnished  in  almost  any  house 
with  very  little  trouble  or  expense,  and  the  skill  and  taste  used 
in  preparing  them  will  add  much  to  the  enjoyment. 

Wigs  can  be  made  of  black  and  white  curled  hair,  sewed  upon 
a  skull-cap  made  of  four  conical  pieces.  Beards  can  be  con- 
trived by  fastening  the  same  articles,  or  white  llama-fringe,  on  a 
wire  frame,  which  goes  under  the  chin  to  each  ear,  around 
which  it  is  fastened. 


SERIES  No.    1.     CINDERELLA 

In  the  first  picture,  Cinderella  is  crouching  in  the 
left  corner  ;  her  head  is  bowed,  and  her  face  is  hid  in 
her  hands,  as  if  cryiog  at  her  disappointment  in  hav- 
ing to  stay  at  home  from  the  ball.  The  Fairy  God- 
mother is  bending  over  the  prostrate  girl,  as  if  about 
to  arouse  her  from  her  sad  reverie,  and  is  pointing  up 
with  her  stick,  which  she  holds  in  her  right  hand. 
Cinderella  wears  a  loose  brown  robe,  under  which  is 
concealed  a  white  muslin  dress,  richly  trimmed  with 
stars  and  fringe  of  gold-paper.  The  Godmother's 
dress  and  stick  are  described  on  page  68 ;  the  colors 
of  it  may  be  altered  if  preferred. 

Second  Picture :  The  same  characters  as  in  the 
first;  same  positions,  excepting  that  the  Godmother 
and  Cinderella  have  changed  sides.  The  loose  robe 


76  ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

has  been  pulled  off,  and  Cinderella  stands  proudly  in 
the  center,  in  a  dancing  attitude,  contemplating  with 
delight  her  beautiful  ball-dress.  The  Godmother  is 
lifting  up  a  large  yellow  pumpkin,  as  if  showing  Cin- 
derella that  her  carriage  will  soon  be  ready;  and  a 
box  lies  at  her  feet,  to  represent  the  trap  in  which  the 
horses  are  stabled,  ready  for  the  trip.  Cinderella 
should  be  a  blond  young  lady,  with  small  hands  and 
feet,  and  a  graceful,  slight  figure. 

Third  Picture :  The  Prince  and  Cinderella  stand  as 
if  about  to  lead  the  dance,  in  the  attitude  of  the  old- 
fashioned  minuet ;  his  right  hand  holds  hers  high,  as 
she  holds  her  dress  with  the  left.  Their  left  feet  are 
extended,  and  their  heads  turned  toward  each  other. 
The  dress  of  the  Prince  can  be  made  of  light-blue 
sateen,  trimmed  with  puffs  of  pink  on  the  shoulders 
and  at  the  sides ;  he  has  loose  trunks  of  pink,  with 
light-blue  puffs  and  pink  stockings.  Two  ladies,  in 
court-dresses  similar  to  those  described  at  the  foot  of 
page  74,  may  be  introduced,  one  at  each  side,  to  rep- 
resent other  dancers. 

Fourth  Picture  :  Cinderella  in  terror  is  flying  from 
the  ball,  her  old  ragged  dress  on,  and  a  dingy  hand- 
kerchief tied  loosely  over  her  head. 

Fifth  Picture :  Cinderella  is  meekly  asking  the 
Prince  to  let  her  try  on  the  glass  slipper,  which  he 
holds,  standing  in  the  center.  At  the  left,  her  angry 
sisters  turn  away  in  disgust  because  they  could  not 
succeed  in  wearing  the  slipper.  The  sisters  are  dressed 
very  showily,  but  Cinderella  still  wears  her  old  brown 
costume,  as  she  stands  at  the  right  of  the  Prince,  with 
downcast  eyes  and  extended  hand. 

Sixth  Picture  :    Cinderella  sits  in  the  center.     The 


THE  GIANT  PICTUKE-BOOK  77 

enraptured  Prince  kneels  before  her,  with  the  foot 
wearing  the  glass  slipper  resting  on  a  foot-stool ;  the 
companion  glass  slipper  she  has  just  drawn  from  her 
pocket.  The  Godmother  stands  over  them,  having 
changed  the  old  brown  robe  into  a  ball-dress  by  her 
mystic  power,  and  she  seems  to  be  waving  her  stick 
in  triumph ;  and  after  this  picture  has  been  shown  for 
one  minute,  the  book  is  closed. 

SERIES   No.  2.     JACK  AND  THE  BEAN-STALK 

First  Picture :  A  small  boy  stands  looking  up 
into  his  mother's  face  in  terror;  her  right  hand  is 
raised  above  him  in  anger,  as  if  she  intended  punish- 
ing him  for  selling  the  cow  to  so  poor  advantage. 
She  wears  a  black  dress  with  very  high  pannier  over  a 
gray  underskirt,  a  white  kerchief  over  her  shoulders, 
and  a  high,  pointed  white  cap. 

Jack  wears  red  stockings,  yellow  trunks,  a  loose  red 
jacket  trimmed  with  yellow  points.  He  holds  in  his 
left  hand  a  round  red  cap,  which  is  partly  filled  with 
beans,  some  of  which,  being  strung  separately  on  fine 
black  silk,  seem  to  be  falling  out  of  the  cap. 

Second  Picture:  Jack  is  climbing  up  the  bean- 
stalk, which  is  made  of  a  rake-handle  or  long  pole, 
one  end  being  fixed  in  the  table,  and  the  other  out  of 
sight  in  the  picture ;  a  cross-stick  on  which  he  stands 
is  made  of  an  old  broom-handle,  two  feet  from  the 
bottom  of  the  picture;  another  cross-stick,  five  feet 
higher,  he  clings  to  with  his  hands ;  and  all  the  sticks 
are  covered  with  dark-green  cambric. 

Third  Picture:  The  Giant  is  seated  at  a  table; 
before  him  is  the  celebrated  hen,  and  behind  her  sev- 


78          ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

eral  golden  eggs  lie  on  the  table.  These  are  easily 
made  by  covering  china  eggs,  or  real  ones,  with  gilt 
paper,  while  the  hen  is  easily  cut  out  in  profile,  as 
only  one  side  is  seen,  on  which  feathers  are  drawn 
with  crayon  or  stuck  with  glue.  The  Giant  is  partly 
concealed  by  the  table,  upon  which  he  really  kneels, 
and  a  large  cloak  covered  with  red  calico  and  stuffed 
with  pillows  makes  him  very  large ;  and  his  head  is 
made  by  covering  a  bushel  basket  with  unbleached 
muslin,  on  which  a  face  is  drawn,  red  carpet-yarn 
being  sewed  on  the  back  to  represent  hair. 

Fourth  Picture:  Jack  and  his  mother  sit  one  at 
each  side  of  a  table,  contemplating  with  wonder  the 
hen  and  the  two  bags  of  gold.  The  table  used  in  all 
these  scenes  is  only  a  board  ten  inches  wide,  covered 
with  a  white  cloth  and  furnished  with  rough  legs 
which  do  not  show. 

Fifth  Picture :  Jack  is  raising  his  hatchet  to  cut 
down  the  bean-stalk,  and  by  his  side  is  an  enormous 
golden  harp,  which  is  made  of  pasteboard  in  profile, 
covered  with  gilt  paper. 

SERIES  No.   3.     BEAUTY  AND  THE  BEAST 

First  Picture :  The  merchant  is  taking  leave  of 
his  daughters;  Beauty  is  in  the  center,  winding  a 
scarf  around  the  neck  of  her  father,  while  her  proud 
sisters  stand  one  at  each  side,  with  extended  hands, 
as  if  urging  their  father  to  bring  them  rich  and  costly 
attire.  Beauty  looks  down,  as  if  too  modest  to  ask 
for  any  gift  but  a  rose. 

The  sisters  weai  silk  dresses  of  as  brilliant  color  as 
they  can  find,  with  long  trains  and  square  necks— which 


THE  GIANT  PICTUEE-BOOK  79 

are  easily  contrived  by  sewing  a  square  of  white  mus- 
lin upon  the  dress-waists  of  their  mothers'  dresses, 
the  skirts  of  which  will  do  for  court  trains. 

Their  hair  is  rolled  over  a  cushion,  powdered,  and 
dressed  with  feathers  or  flowers,  which  can  be  bor- 
rowed from  bonnets.  Beauty  wears  a  plain  loose 
waist  of  white  muslin  over  a  plain  black  skirt.  Her 
hair  falls  loosely. 

The  father  has  a  square-cut  suit— to  arrange  which, 
fold  the  skirts  of  a  sack-coat  away  in  front  to  form 
square  corners,  which,  with  the  lapels,  must  be  faced 
with  white  paper-muslin.  The  vest  is  covered,  and 
also  lengthened  a  quarter  of  a  yard  in  front,  with  the 
same,  and  large  flap  pockets  are  added. 

Pantaloons  rolled  to  the  knee  do  very  well  for 
breeches,  with  long  stockings  and  low  shoes,  and  a 
felt  hat  can  be  pinned  into  a  chapeau  by  turning  up 
one  side  and  fastening  the  other  corner  into  a  point. 

Second  Picture:  The  father  is  plucking  the  rose 
from  a  bush  which  stands  in  the  center,  covered  with 
paper  roses.  The  Beast,  with  uplifted  club,  seems 
about  to  destroy  the  old  man,  who  stands  with  knees 
together  and  hands  down,  in  a  comic  attitude  of 
despair. 

The  Beast  wears  a  fur  cloak  or  mat  over  his  shoul- 
ders, pinned  around  his  waist  and  reaching  to  his 
knees  below  the  tops  of  long  pink  stockings.  His 
arms  may  be  bare,  and  he  wears  over  his  face  a  mask, 
which  may  be  bought  at  a  toy-shop,  or  made  of  brown 
paper. 

Third  Picture :  The  father  introduces  his  daughter 
to  the  Beast,  who  stands  as  if  bowing  low  at  the  right. 
Beauty  is  at  the  left,  drawing  back  and  making  a 


80          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

courtesy.  She  is  dressed  as  before,  with  the  addition 
of  a  shawl  pinned  over  her  shoulders,  and  a  red  hand- 
kerchief over  her  head. 

Fourth  Picture :  Beauty's  return  home,  in  which 
scene  she  is  embracing  her  old  father,  who  seems  in 
raptures ;  they  are  in  the  center,  while  the  proud  sis- 
ters stand  one  at  each  side,  one  looking  off  in  anger, 
and  the  other  gazing  with  envy  at  the  happy  pair. 
Beauty  has  a  rich  silk  dress  of  a  style  similar  to  that 
shown  in  the  first  picture. 

Fifth  Picture:  Beauty  is  asleep  in  her  chair  in 
the  center,  while  her  sisters  bend  over  her  in  triumph, 
one  holding  a  vial  containing  the  sleeping-draught,  of 
which  they  have  administered  a  dose  in  order  to  make 
her  overstay  her  time  and  break  her  promise  to  the 
Beast. 

Sixth  Picture :  Beauty  stands  weeping  over  the 
body  of  the  poor  Beast,  which  is  represented  by  a  roll 
of  dark  shawls,  around  which  the  robe  of  the  Beast  is 
wrapped,  as  his  head  and  feet  would  be  concealed  by 
the  sides  of  the  frame  j  her  face  is  covered  with  her 
hands  and  she  seems  overwhelmed  with  grief. 

Seventh  Picture:  A  handsome  prince  is  kneeling 
at  the  feet  of  Beauty,  who  is  overjoyed  to  find  in  him 
her  faithful  Beast,  restored  to  his  form  and  rank 
through  her  fidelity  and  truth.  His  dress  can  be 
arranged  with  a  lady's  velvet  basque,  with  an  opera 
cape  across  the  shoulders,  a  pair  of  white  satin 
breeches  made  of  paper-muslin,  long  white  hose,  and 
low  shoes  with  large  bows ;  a  sash  may  cross  from  the 
left  shoulder  to  the  waist,  in  case  the  basque  is  too 
small  to  meet  neatly  in  front. 


SHADOW-PANTOMIMES 

BY  HERMAN  H.  BIRNEY 

YOUNG  persons  often  wish  to  give  an  entertainment 
'which  will  be  interesting  without  involving  too  much 
labor  in  its  preparation.  Shadow-pantomimes 1  an- 
swer this  purpose  admirably. 

There  are  no  speaking-parts  to  be  learned,  and  any 
boys  and  girls  can  do  the  required  acting.  As  for 
objects  of  scenery  and  striking  points  of  costume,  these 
can  be  cut  out  of  cardboard,  newspaper,  or  anything 
that  will  cast  a  shadow ;  indeed,  all  the  characters, 
costumes,  and  surroundings  are  shown  only  by  their 
shadows.  These  are  cast  upon  large  translucent 
screens,  or,  better  still,  upon  a  sheet  so  suspended  as 
to  divide  the  actors  from  the  spectators. 

A  double  doorway  between  rooms  affords  an  excel- 
lent place  for  this  screen,  which  should  be  stretched 
across  as  smoothly  as  possible.  If  the  sheet  be  wrung 
out  of  water  before  being  stretched,  it  will  dry  smooth 
and  tight.  Where  the  space  requires  a  larger  surface, 
two  or  more  sheets  may  be  stitched  together  to  form 
the  screen. 

Next  in  importance  is  the  light,  which  may  be  any- 
thing from  a  magic  lantern  down  to  a  tallow  candle. 
One  person  should  be  delegated  to  manage  this  light 
behind  the  screen,  and  another  the  lights  in  front  of 

1  See  also  a  shadow-play,  "The  Modem  and  Medieval  Ballad 
of  Mary  Jane,"  by  Henry  Baldwin,  in  this  volume. 
6  81 


82          ST.   NICHOLAS  PLAYS  AND    OPERETTAS 

it ;  for  the  spectators'  room  must  be  darkened  during 
the  performance. 

The  best  way  to  "drop  the  curtain"  is  to  obscure 
the  light  behind  the  screen,  and  at  the  same  time  to 
turn  up  the  lights  in  the  spectators'  room. 

The  light  which  is  to  cast  the  shadows  should  be  at 
such  height  and  distance  behind  the  screen  as  will 
bring  the  shadows  of  the  actors  into  the  proper  places 
and  make  them  of  the  desired  size.  The  actors  should 
try  to  keep  as  close  to  the  screen  and  as  much  in  pro- 
file as  possible ;  and  care  should  be  taken  that  their 
arms,  and  any  objects  held  in  their  hands,  such  as 
pasteboard  weapons,  canes,  baskets,  etc.,  cast  distinct, 
characteristic  shadows. 

Let  us  take  one  performance  in  detail.  Almost 
any  dramatic  poem,  song,  or  story  may  be  chosen  for 
shadow-pantomime.  It  should  be  clearly  sung  or  re- 
cited while  the  actors  perform  their  dumb-show.  I 
shall  give  you  the  well-known  tragic  story,  "  The  Bal- 
lad of  the  Oysterman,"  written  by  Dr.  Oliver  Wendell 
Holmes.  This  has  been  found  easy  to  represent,  and 
has  often  proved  to  be  a  decided  success. 

While  the  words  are  being  very  distinctly  sung  or 
spoken,  the  actors  do  their  shadow  parts  to  the  best 
of  their  ability.  The  illustrations  given  with  the  bal- 
lad show  some  of  the  more  striking  situations,  but  the 
gestures  will  be  found  to  add  very  greatly  to  their 
effect.  In  this,  as  in  all  other  amusing  performances, 
liveliness  of  action  must  be  tempered  by  moderation, 
and  the  acting  must  be  in  perfect  keeping  with  the 
story  to  be  represented. 

The  effect  of  river-banks  may  be  given  by  tables, 
one  on  each  side  of  the  stage,  covered  with  any  thick 


SHADOW-PANTOMIMES 


83 


cloth.  Irregularities  in  the  contour  of  the  shores  are 
readily  made  by  various  objects  placed  on  the  tables 
under  the  cloth,  and  near  the  screen,  so  as  not  to  in- 
terfere with  the  actors  when  they  are  obliged  to  stand 
on  the  tables.  Water  is  well  represented  by  mosquito- 
netting — the  sort  without  cross-bars — or  coarse  tarla- 
tan, reaching  from  table  to  table,  a  few  inches  behind 
the  screen.  If  held  at  the  upper  corners  by  hidden 
assistants,  and  very  gently  waved  or  shaken,  the  effect 
is  improved. 

If  it  be  desired  to  present  the  "  tragedy  "  after  the 
most  approved  style,  the  water  is  best  arranged  as 
follows :  Suppose  the 
screen,  on  which  the 
shadows  are  thrown,  to  be 
stretched  across  a  wide 
doorway.  Small  screw- 
pointed  hooks  should  be 
screwed  about  six  inches 
apart  into  the  edge  of  the 
door- jamb,  two  on  each 
side,  at  the  height  intended 
for  the  water-level  in  the 
first  part  of  the  perform- 
ance, and  two  more  on 

each  side  at  the  water-level  for  the  last  verse.  A 
triangular  block  of  wood  should  now  be  hung  by 
screw-eyes  to  these  hooks,  as  shown  in  the  illustration, 
the  base  of  the  block  resting  solidly  against  the  wall, 
its  apex  projecting.  Wires  should  be  run  from  the 
corners  of  this  block  to  a  similar  piece  on  the  opposite 
side  of  the  doorway.  Now  the  edge  of  a  broad  piece 
of  plain  mosquito-netting  should  be  sewed  or  threaded 


84 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


along  the  lower  wire,  and  the  rest  of  the  netting 
thrown  over  the  upper  wire  from  behind  forward, 
and  allowed  to  fall  to  the  floor,  thus  forming  a  slant- 
ing double  layer  of  netting 
above,  and  a  perpendicular 
single  layer  below.  This  ar- 
rangement gives,  in  shadow, 
the  effect  of  a  perspective 
view  of  the  surface  of  the 
water,  and  a  perpendicular 
section  beneath  the  surface. 
It  also  makes  it  easy  to 
change  quickly  the  depth  of  the  water  for  the  final 
scene,  by  simply  raising  the  blocks  from  the  lower  to 
the  upper  hooks. 

The  fish,  and  other  properties  cut  from  pasteboard, 
may  be  stationary  or  movable,  as  preferred.  If  fish 
are  to  swim,  they  may  be  pulled  along  on  strings  or 
fine  thread- wire. 

The  moon  is  cut  from  pasteboard,  and  suspended 
by  strong  thread  from  above  the  door.  The  expres- 
sion of  the  face  can  be  changed,  when  desired,  by  a 
simple  pivoted  card,  provided  with  threads  for  mov- 


ing it  up  and  down.  The  eye  may  be  made  to  wink 
—the  " eyelid"  being  held  up  by  a  weak  rubber-band, 
which  replaces  it  after  a  "  wink." 

As  the    first  line  of  the  fourth  verse  is  read,  the 
oysterman  should  leap  away  from  the  screen  at  an 


(SHADOW-PANTOMIMES  85 

angle,  so  that  his  shadow  is  not  seen  to  cross  the 
river.  If  the  doorway  be  narrow,  the  table  on  which 
the  oysterman  stood  should  now  be  pulled  to  one  side, 
and  the  other  table  be  brought  farther  out  to  give 
more  room  to  those  who  act  upon  it. 

Before  the  last  verse  there  is  a  necessary  intermis- 
sion of  a  few  minutes  in  order  that  the  scenery  may 
be  changed.  For  this  last  scene  everything  should 
be  in  perfect  readiness  to  be  put  in  place  the  moment 
the  " curtain  is  dropped'7  in  the  manner  previously 
suggested. 

THE  BALLAD  OF  THE  OYSTERMAN1 

Words  by  OLIVER  WENDELL  HOLMES. 

Arranged  for  Pantomime  by  H.  H.  BIRNEY. 


1.  There       was       a       gay  young  oys  -  ster  -  man  lived 

LBjt p j_ ._pi ^ — __| ii"rz:q^n 

v* m » m ^ a 

rhrzzirri 


by      the     riv  -  er  -  side ;    His      shop     it      was     up 


on        the     bank,     his      boat    was       on       the      tide. 


The    daugh  -  ter       of        a       fish  r  er  -  man,   she 
jRitard  Accelerando. 

so  straight  and   slim,     Lived    o  -    ver     on      the 

1  The  words  of  this  ballad  are  printed  by  kind  permission  of 
Houghton,  Mifflin  &  Co.  The  music  is  used  by  permission  of 
Oliver  Ditson  &  Co.,  owners  of  the  copyright. 


86  ST.   NICHOLAS  PLAYS  AND  OPERETTAS 


oth  -   er      shore,  right      op  -    po  -  site       to       him. 


1 


With      a        Rook  -  che  -  took,  che  -  took  -  che  -  took  -  che, 

Whack!      fol  -    lol    -    did  -  die  -    lol    -    la  -    day. 

II 

I 


THERE  was  a  gay  young  oysterman  lived  by  the  river- 
side; 

His  shop  it  was  upon  the  bank,  his  boat  was  on  the 
tide. 

The  daughter  of  a  fisherman,  she  was  so  straight  and 

slim, 

Lived  over  on  the  other  shore,  right  opposite  to  him. 

CHORUS. 


SHADOW-PANTOMIMES 
III 


87 


It  was  the  pensive  oysterman  who  saw  the  lovely  maid, 
Upon  a  moonlight  evening,  a-sitting  in  the  shade ; 


IV 


He  saw  her  wave  her  handkerchief,  as  much  as  if  to 

say, 
"  I  'm  all  alone,  young  oysterman,  for  daddy 's  gone 


away. 


CHORUS. 


88 


ST.  NICHOLAS  PLAYS  AND  OPERETTAS 
V 


Then  spake  the  gallant  oysterman,  and  to  himself  said 

he, 
"  I  guess  I  '11  leave  the  boat  at  home,  for  fear  the  folks 

might  see  j 

VI 


I  've  read  it  in  the  story-books,  that  for  to  kiss  his 

dear, 
Leander  swam  the  Hellespont,  and  I  will  swim  this 

here."  CHORUS.    » 


SHADOW-PANTOMIMES 
VII 


89 


Then  he  has  leaped  into  the  flood,  and  swum  the  shin- 
ing stream, 

And  he  has  clambered  up  the  bank,  all  in  the  moon- 
light gleam, 


vm 


And  there  were  kisses  sweet  as  dew,  and  words  as 
soft  as  rain  j 


90          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

IX 


But  they  have  heard  her  father's  steps,  and  in  he 
leaps  again.  CHORUS. 


Out  spake  the  ancient  fisherman,    "  Now,  what  was 

that,  my  daughter?" 
u;T  was  nothing  but  a  pebble,  pa,  I  threw  into  the 

water." 


SHADOW-PANTOMIMES 
XI 


91 


"  And  what  is  that,  pray  tell  me  now,  that  paddles  off 

so  fast?" 
"  'T  is  nothing  but  a  porpoise,  pa,  that 's  been  a-swim- 

ming  past."  CHORUS. 


xn 


Then  spake  the  ancient  fisherman :    "  Go,  bring  me 

my  harpoon ! 
I  '11  jump  into  my  fishing-boat,  and  fix  the  fellow  soon." 


92 


ST.   NICHOLAS  PLAYS   AND  OPERETTAS 


Down  fell  that  lovely  innocent,  as  falls  the  snow-white 
lamb, 

Her  hair  dropped  round  her  pallid  cheeks  like  sea- 
weed round  a  clam.  CHORUS. 


XIII 


Alas  for  those  two  loving  ones !  she  waked  not  from 

her  swound, 
And  he  was  taken  with  the  cramp,  and  in  the  stream 

was  drowned ; 
But  fate  has  metamorphosed  them  in  pity  of  their 

woe, 
And  now  they  keep  an  oyster-shop  for  mermaids 

down  below.  CHORUS. 


THE   MAGIC   SWORD 
BY  KATHARINE  PYLE 

The  jars  of  candy,  Noah's  Ark,  and  music-box  for  the  first 
act  are  painted  scenery,  and  should  be  in  such  proportion  to 
the  actors  as  the  real  ones  would  be  to  the  toys— that  is,  five  or 
six  feet  in  height. 

The  doll's-house  furniture  in  the  second  and  third  scenes 
should  be  of  the  usual  size,  but  copied  as  closely  as  possible 
from  toy  furniture. 

The  gestures  and  movements  of  the  actors  should  be  stiff  and 
mechancial,  as  toys  might  be  supposed  to  move. 

The  BEAR'S  costume  can  be  hired  at  a  good  costumer's ;  but 
if  this  is  not  convenient,  a  suit  may  be  made  of  brown  Canton 
flannel,  sewed  into  a  loose  shape,  somewhat  like  that  of  a  little 
child's  night-garment,  the  sleeves  and  legs  ending  in  mittens 
and  stockings  of  the  same  material.  Make  a  mask  of  cardboard 
resembling  in  shape  a  blunt  cornucopia,  cover  with  Canton  flan- 
nel, and  end  it  in  a  hood  that  draws  over  the  head.  Sew  ears  of 
flannel  on  in  the  proper  places.  A  bearskin  rug  may  be  fas- 
tened about  the  body  over  this  costume,  and  the  whole  sewed 
up  the  back  with  large  stitches  that  will  rip  easily. 

JACK  wears  a  mask,  and  in  the  first  scene  a  harlequin  suit 
and  stiff,  pointed  cap.  In  the  second  scene  he  wears  a  long, 
narrow  gown  of  checked  calico,  and  a  pointed  cap  of  the  same 
material,  mask,  and  white  beard. 

ROSALINE  has  a  blond  wig ;  her  cheeks  are  painted  very  red, 
and  her  eyebrows  are  painted,  highly  arched.  Her  costume  for 
the  first  scene  is  a  slip  of  white  paper-muslin,  trimmed  with 
coarse  lace,  through  which  are  run  pink  ribbons.  In  the  second 
scene  she  wears  a  pale-pink  slip. 

The  OLD  DOLLS  are  dressed  in  stiff,  old-fashioned  silk  frocks, 
93 


94          ST.   NICHOLAS   PLAYS  AND   OPERETTAS 

cheeks  very  red,  eyebrows  arched,  and  have  smoothly  banded 
black  wigs. 

The  TOY  SOLDIERS  are  costumed  in  imitation  of  the  wooden 
soldiers  that  may  be  bought  at  any  toy-shop. 


ACT  I 

SCENE.  — Shelf  in  Old  Mother  Candytop's  toy-shop.  Jars  of 
differently  colored  stick-candy,  a  Noah's  Ark,  and  a  music-box 
in  the  background.  Wooden  Soldiers  are  standing  in  a  row. 
There  is  a  harlequin  Jumping- Jack,  and  against  the  wall  leans 
a  beautiful  Doll,  wrapped  up  as  high  as  the  arms  in  brown 
paper  and  twine. 

A  clock  strikes  twelve.  For  an  instant  afterward  all  remains 
as  it  was ;  then  the  music-box  plays  for  a  short  time,  the  Toy 
Soldiers  present  arms,  and  the  Doll  turns  her  head  stiffly  from 
side  to  side,  and  looks  about  her. 

JUMPING-JACK.  Now  the  mother  of  the  toys  is  fast 
asleep  in  bed ;  the  shop  is  shut  up  so  that  people  could 
not  come  in  to  buy  if  they  wished  to  j  and  we  toys  can 
have  things  all  our  own  way.  Hey,  there !  you  sol- 
diers, what  are  you  about  ? 

TOY  CAPTAIN.  Don't  interrupt  us.  I  must  keep  my 
soldiers  in  good  drill,  for  who  knows  but  that  we  may 
be  sold  almost  any  day  ? 

JUMPING-JACK.  Stupid  things !  Just  as  if  it  would 
make  any  difference  if  you  were  !  You  would  have  to 
keep  just  as  still  if  you  were  in  the  nursery  as  you  are 
here. 

TOY  CAPTAIN.  Attention  !  Present  arms  !  Shoulder 
arms  !  Forward,  march ! 

[Toy  Soldiers  march  off. 

JUMPING-JACK.   How  I  hate  them  all!     They  are 


THE  MAGIC   SWORD  95 

so  stupid !     Now  I  '11  make  a  face  at  that  doll,  and 

scare  her. 

[Makes  a  face. 

DOLL.  [Covering  her  face  with  her  hands.]  Oh,  oh! 
There  is  that  dreadful  Jumping-Jack  again  !  I  hate 
the  sight  of  him.  Please  stop  making  faces  at 
me ! 

JUMPING-JACK.  Then  why  don't  you  come  and  talk 
with  me  ? 

DOLL.  You  're  so  wicked  that  I  'm  afraid.  You 
made  such  faces  at  the  plaster  cat  that  it  split  all  down 
the  back,  and  had  to  be  thrown  out  on  the  ash-heap. 

JUMPING-JACK.  Then  you  'd  better  take  care,  or 
maybe  I  '11  make  faces  at  you. 

DOLL.   No,  no ;  you  must  n't,  you  wicked  toy ! 

JUMPING-JACK.  [Fiercely.]  Yes,  I  will— unless  you 
talk  with  me. 

[Enter  the  Fairy  Prince.  He  is  dressed  in  a 
tunic  of  shimmering  silk,  and  wears  a  sword 
at  his  side. 

FAIRY  PRINCE. 

Star  gleam, 
And  moonbeam ! 

Quick  as  a  flash  I  slip  through  the  window,  and  here 
I  am !  But  what  a  strange  place  it  is !  [Looking  at 
the  Noah's  Ark.]  Never  before  did  I  see  a  house  like 
that— no  bigger  than  a  fairy's  house  might  be.  [Ex- 
amining the  music-box,  which  plays  for  a  moment  or  tivo.] 
And  such  a  queer  chest,  with  music  coming  from  in- 
side of  it !  [Sees  the  Doll]  Oh,  you  beautiful  fairy ! 
Who  are  you  ? 

DOLL.   I  am  a  doll. 


96          ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

FAIRY  PRINCE.  A  doll !  What  is  a  doll  ?  Pray, 
tell  me. 

JUMPING- JACK.  A  poor  thing  made  of  wax  and  cloth 
and  sawdust. 

FAIRY  PRINCE.  O  beautiful  Doll,  come  with  me  to 
the  court  of  the  Fairy  Queen,  and  she  will  change  you 
into  a  real  fairy ;  and  you  shall  be  named  Rosaline ; 
for  your  cheeks  are  as  pink  as  rose-leaves,  and  not  a 
fairy  in  all  the  court  is  so  beautiful  as  you. 

DOLL.   Indeed,  I  will  gladly  go  with  you. 

JUMPING- JACK.  Ah,  but  wait  a  bit ;  for  I  shall  have 
something  to  say  to  that  first. 

FAIRY  PRINCE.   You  ? 

JUMPING-JACK.  Yes,  I,  the  Jumping-Jack  of  the  toy 
shelf !  I  have  frightened  the  toy  horse  till  he  could 
not  stand ;  I  have  made  such  a  face  at  the  toy  cat  that 
it  split ;  and  if  you  try  to  take  the  Doll  away  I  will 
make  a  face  at  her,  too  ;  and  then— aha ! 

FAIRY  PRINCE.   Then  out,  my  Magic  Sword ! 

[He  draws  his  Magic  Sword  arid  points  it  at  the 
Jumping-Jack. 

Magic  blade,  and  hilt  of  gold, 
Work  the  charm  as  thou  art  told ! 

Let  his  face  be  stiff  as  if  made  of  wood,  so  that  he 
cannot  stretch  or  twist  it ! 

JUMPING-JACK.  Ow  !  Ow !  He  has  bewitched  me  so 
that  I  cannot  move  my  face  at  all ! 

FAIRY  PRINCE.  And  now,  beautiful  Doll,  let  us 
away. 

DOLL.  Yes,  but  see  !  I  am  so  wrapped  up  in  paper 
and  tied  about  with  string  that  I  cannot  move. 


THE  MAGIC  SWORD 


97 


FAIRY  PRINCE.   Then  come  once  more,  my  Magic 
Sword ! 

[He  cuts  through  the  string,  and  lays  the  sword 
down  beside  him,  while  he  helps  the  Doll 
to  unwrap  and  step  from  the  paper.  Then 
he  drops  on  one  knee  and  takes  her  hand  in 
his.  At  this  moment  the  Jumping-Jack 
creeps  up  toward  them  and  steals  the  Magic 
Sword,  hiding  it  behind  him. 

FAIRY  PRINCE.   There  !     You  are  free.     And  now 
away— away  to  the  court  of  the  Fairy  Queen ! 


KP 


JUMPING-JACK.  But  first  let  me  see  if  the  Magic 
Sword  will  not  work  for  me  as  well  as  you.  [Pointing 
it  toivard  them.] 

Magic  blade,  and  hilt  of  gold, 
Work  the  charm  as  thou  art  told  1 


98          ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

Let  the  Doll  sleep  and  forget  everything  until  to- 
morrow night,  when  the  toys  awake  again  ! 

DOLL.  Oh,  I  am  going  to  sleep — I  feel  that  I  'm 
going  to  sleep !  My  eyelids  weigh  like  lead.  Fare- 
well, Fairy  Prince,  farewell — farewell! 

[She  sleeps. 

FAIRY  PRINCE.  [Springing  toward  the  Jumping-Jack.] 
Ah,  wretched  toy !  Give  me  back  my  sword. 

JUMPING- JACK.  [Pointing  the  sword  at  the  Prince.} 
Stop!  [The  Prince  stands,  unable  to  move.}  What  fate 
is  there  bad  enough  for  you  ?  You  shall  be  changed 
into  a  mechanical  bear ;  and  in  that  shape  you  shall 
wander  through  the  world  until  you  hold  the  fairy 
sword  in  your  hand  once  more,  and  when  that  time 
comes  you  may  turn  its  shining  blade  toward  me. 
Ha!  ha! 

[The  Fairy  Prince  shrinks  back  in  dread ;  and 
the  Jumping-Jack  stands,  holding  the  Magic 
Sword  triumphantly  above  him,  while  the 
music-box  plays  in  the  background. 

ACT  II 

SCENE.— The  doll-house.  The  Old  Dolls  are  sitting  in  a  row 
in  three  red  wooden  chairs.  Tlxe  New  Doll,  Rosaline,  sits  in 
the  rocking-chair  beside  the  table.  At  one  side  of  the  room 
stands  a  large  square  chest  covered  with  green-and-white- 
ehecked  paper,  and  fastened  with  a  hook— like  that  of  the  well- 
known  toy  jack-in-the-box. 

The  cuckoo-clock  is  heard  crying  the  hour  of  twelve  in  the 
nursery  outside.  There  is  a  moment  of  silence,  and  then  the 
Old  Dolls  rise  stiffly,  and  the  New  Doll  turns  her  head  from  side 
to  side,  and  looks  about  her. 

NEW  DOLL.    Where  am  I  ? 

OLD  DOLLS.   This  is  the  doll-house. 


THE  MAGIC   SWORD  99 

NEW  DOLL.   And  how  did  I  come  here  ? 

OLD  DOLLS.  You  were  brought  here  all  done  up  in 
paper,  just  as  we  were  long  ago  ;  for  yesterday  was 
Christmas. 

NEW  DOLL.   And  am  I  to  live  here  always  ? 

OLD  DOLLS.  Yes,  you  will  live  here  until  you  break ; 
and  you  will  be  the  mistress  of  the  whole  house,  be- 
cause you  are  so  beautiful  and  new. 

NEW  DOLL.    [Sighing.]     Ah,  me  ! 

FIRST  OLD  DOLL.   Why  do  you  sigh  ? 

NEW  DOLL.  I  sigh  when  I  think  of  the  Fairy  Prince, 
and  how  he,  too,  told  me  that  I  was  beautiful. 

FIRST  OLD  DOLL.  We  have  never  seen  a  fairy 
prince;  but  we  have  as  neat  and  tidy  a  little  doll- 
house  as  any  one  would  wish  to  see. 

SECOND  OLD  DOLL.  Yes ;  and  look  at  the  little  tables 
and  chairs,  and  the  little  gilt  clock  that  almost  looks 
real. 

NEW  DOLL.  Yes ;  it  is  very  lovely.  Ah,  if  the  Fairy 
Prince  could  but  see  it ! 

FIRST  DOLL.  And  look  at  the  sideboard  full  of  little 
china  dishes,  pink  china  ham,  and  china  chicken,  and 
shiny  china  bread. 

NEW  DOLL.   And  what  is  in  that  box  over  yonder? 

SECOND  DOLL.  That  we  don't  know.  It  was  a  Christ- 
mas present,  too,  and  it  does  n't  belong  in  the  doll-house. 

NEW  DOLL.    Then  why  was  it  put  here  ? 

SECOND  DOLL.   That  we  don't  know,  either. 

NEW  DOLL.  Let  us  look  in  it.  It  may  be  that  there 
is  something  in  it  that  is  more  beautiful  even  than  all 
the  rest— something  such  as  they  do  not  have  even  in 
Fairyland. 


100       ST.  NICHOLAS  PLAYS  AND   OPERETTAS 

OLD  DOLLS.   [Anxiously.]     Better  not  open  it. 
JACK.    [Sings  inside  the  box.] 

Open  the  lid  !     Open  the  lid ! 

Here  inside  of  the  box  1 'ru  hid. 
Oh,  what  a  wonderful  sight  you  '11  see 
If  you  only  will  open  the  lid  for  me ! 

NEW  DOLL.  Whatever  it  may  be  inside  there,  it  is 
asking  me  to  let  it  out. 

OLD  DOLLS.   Do  not  open  it ! 
JACK.    [Sings  inside  the  box.] 

Everything  in  the  house  is  thine. 
Open,  then,  beautiful  Rosaline  ! 

NEW  DOLL.  Do  you  hear  ?  Whoever  it  is  is  calling 
me  by  the  name  that  the  Fairy  Prince  gave  me.  And 
now  indeed  I  must  open  it ;  for  who  knows  but  what 
it  may  be  the  Fairy  Prince  himself  ? 

[She  unhooks  the  lid.     The  Jumping-Jack  flies 
up  with  a  squeak.     The  Dolls  shriek. 

JACK.  Not  the  Fairy  Prince,  beautiful  Rosaline; 
but  nevertheless  it  is  one  who  carries  the  prince's 
magic  sword.  Don't  you  remember  an  old  friend  like 
me? 

NEW  DOLL.  Alas !  I  remember  you  indeed.  You 
are  the  Jumping-Jack. 

JACK.  Yes,  the  Jumping-Jack  himself.  With  the 
prince's  sword  I  made  myself  a  box,  and  fastened 
myself  in,  and  followed  you  here ;  and  it  was  only 
necessary  that  you  should  let  me  out  for  me  to  have 
you  in  my  power  once  more  ! 


10?;  T;       CEOIfAS  (PL°AYS/AND  OPERETTAS 

OLD  DOLLS.  Shut  the  lid !  Oh,  shut  the  lid,  and 
fasten  him  in  once  more  ! 

[Jack  steps  out  of  the  box.  He  is  dressed  in 
a  long,  tight  dress  of  green-and-white- 
checked  calico,  and  wears  a  pointed  cap. 

JACK.  I  can  close  the  lid  and  fasten  it  myself. 
[Turning  to  the  Doll.]  Ah,  lovely  Doll,  you  thought 
you  had  escaped  me ;  but  it  is  not  so  easy  to  free 
yourself  from  Jumping- Jack,  ugly  and  despised 
though  he  may  be.  [The  Dolls  hide  their  faces,  trem- 
bling.] Not  quite  so  beautiful  here  as  in  the  fairy's 
court,  perhaps;  but  still  it  will  do  as  a  makeshift. 
And  we  will  live  here  always,  just  as  the  Dolls  said 
and  you  shall  be  my  servants ;  for  I  am  still  the  mas- 
ter of  the  Magic  Sword. 

ACT  III 

SCENE.— The  doll-house.  Jack  is  eating  at  the  table.  The 
Dolls  are  serving  him. 

JACK.  [Pushing  back  his  chair.]  My  spring  and 
whiskers !  but  that  was  the  best  meal  I  Ve  had  for 
many  a  long  day.  A  china  ham,  a  china  chicken,  and 
a  whole  china  loaf !  Here,  you  lazy  Dolls,  you  may 
put  the  dishes  away  now.  [Stretches  and  gapes.]  How 
sleepy  I  feel !  Oh,  what  a  soft  sofa !  Just  the  place 
for  a  nap ;  and,  Rosaline,  you  shall  sit  at  my  head  and 
sing  me  to  sleep. 

[He  stretches  himself  on  the  sofa.  The  New 
Doll  sits  at  his  head. 

ROSALINE.     [8ings.] 

The  shelf  was  gay,  and  the  moon  was  bright, 
When  I  saw  the  Fairy  Prince,  one  night. 


THE   MAGIC   SWORD  103 

Now  sadly  I  think  of  him,  and  weep— 
Jumping- Jack,  are  you  yet  asleep  ? 

[Jack  yawns. 

His  eyes  were  as  bright  as  bright  could  be, 
Like  the  shining  balls  on  the  Christmas  tree ; 

But  he  vanished  away  while  I  slumbered  deep— 
Jumping- Jack,  are  you  yet  asleep  ? 

[Jack  snores.     A  soft  knocking  is  heard  at  the  door. 

ROSALINE.   Hark !     Some  one  is  knocking. 

[Soft  knocking  again. 

BEAR.     [Singing  outside.] 

Black  and  grim  in  my  hairy  hide, 
I  wander  over  the  nursery  wide. 
What  care  I  if  I  sleep  or  wake  ? 
Ah,  if  my  stitches  would  but  break ! 

ROSALINE.  There  is  some  one  singing  outside. 
Look  from  the  window,  and  tell  me  who  it  is  j  but  step 
softly,  for  the  Jack  is  asleep ! 

FIRST  DOLL.  I  see  nothing  but  the  great  nursery 
window,  and  the  mantelpiece  high  up  above  the  house- 
top ;  and  I  hear  nothing  but  the  ticking  of  the  cuckoo- 
clock  in  the  nursery  outside. 

BEAR.    [Sings.] 

The  nursery  's  dark  and  the  nursery  7s  wide, 
And  my  works  they  grumble  and  growl  inside. 
Who  would  guess,  as  the}7  look  at  me, 
How  bright  and  slender  I  used  to  be  f 


104        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

ROSALINE.  There !  I  hear  it  again.  Look  once 
more,  and  tell  me,  do  you  still  see  nothing  ? 

SECOND  DOLL.   I  see  nothing  but  the  pattern  of  the 
nursery  carpet,  and  the  two  great,  black,  hollow  shoes 
that  the  child  Ann  took  off  last  night. 
BEAR.    [Sings.] 

As  fair  she  was  as  a  doll  could  be ; 
Her  cheeks  were  red,  and  she  smiled  at  me. 
Would  she  know  me  under  this  hair  of  mine— 
The  beautiful  waxen  Rosaline? 
ROSALINE.   Now  I  can  bear  it  no  longer !     I  must 
see  for  myself  who  is  singing  outside,  even  if  the 
Jack  should  waken. 

[She  goes  on  tiptoe  to  the  door  and  opens  it. 
The  Mechanical  Bear  stands  without. 

ROSALINE.   Ah  !     What  a  terrible  bear ! 

[She  tries  to  shut  the  door,  but  he  slips  his 
hairy  paw  within  so  that  it  will  not  close. 

BEAR.   Wait  but  a  moment,  beautiful  Rosaline. 

ROSALINE.   What  do  you  want  here  ? 

BEAR.   Only  to  come  in  and  rest  awhile. 

ROSALINE.  No,  no ;  that  you  cannot  do ;  for  if  my 
master  were  to  waken  and  find  you  here,  he  would  be 
in  a  fine  rage. 

BEAR.  But  I  will  step  so  softly  on  my  padded  feet 
that  he  will  not  so  much  as  turn  in  his  sleep. 

ROSALINE.   Then  come  in. 

[She  opens  the  door,  and  the  Bear  enters. 

OLD  DOLLS.   Oh,  how  ugly  he  is  ! 
BEAR.   Ah,  I  seemed  fine  enough  to  you,  Rosaline, 
when  we  met  on  the  shelf  in  the  toy-shop ! 


106        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

ROSALINE.   Who  are  you  ? 

BEAR.  Alas !  have  you  so  soon  forgotten  the  Fairy 
Prince  ? 

ROSALINE.    But  you  are  not  the  Fairy  Prince ! 

BEAR.  Yes,  I  am  he  ;  and  it  was  because  of  you  that 
the  wicked  Jumping-Jack  turned  me  into  a  mechani- 
cal bear. 

ROSALINE.  Alas !  alas !  that  it  should  be  so  !  But 
fly,  Fairy  Prince ;  for  the  Jumping  Jack  is  here  ! 

BEAR.   Here? 

ROSALINE:   Yes ;  he  is  asleep  on  yonder  sofa. 

BEAR.  [Eagerly.]  Then  he  must  have  my  Magic 
Sword  with  him. 

ROSALINE.   I  have  not  seen  it. 

BEAR.  We  must  look  for  it ;  for  if  I  can  only  find  it, 
all  may  yet  be  well ! 

ROSALINE.   But  if  he  should  waken  ! 

BEAR.   We  will  move  about  very  softly. 

[They  all  hunt  about. 
BEAR.    What  is  in  that  chest  ? 
ROSALINE.   That  is  the  chest  the  Jack  came  in. 

[Bear  works  and  works  at  the  lock  with  his 
hairy  paws. 

BEAR.  Alas  !  I  cannot  unhook  it  with  these  clumsy 
paws. 

[Rosaline  unhooks  the  box.  The  Bear  throws 
back  the  lid,  and  with  a  glad  cry  lifts  from 
it  his  Magic  Sword. 

BEAR.  My  Magic  Sword !  My  Magic  Sword  !  And 
are  you  once  more  mine  ? 

[The  Jack  begins  to  stir  and  waken. 
ROSALINE.   He  is  awakening  !     We  are  lost! 


THE  MAGIC   SWORD  107 

BEAR.  Not  yet.  Quick !  Take  the  Magic  Sword, 
and  rip  up  the  stitches  along  my  back ! 

ROSALINE.    [Shuddering.]     Ah,  I  cannot  do  that ! 
BEAR.    Quick,  or  we  are  indeed  lost ! 

[Rosaline  takes  the  sword  and  cuts  the  stitches. 
The  Fairy  Prince  throws  aside  the  bearskin, 
and  steps  forth.  Jack  rises,  and  stands, 
staring  at  him  stupidly. 

ALL.   The  Fairy  Prince  ! 

FAIRY  PRINCE.  And  now  let  us  see  whether  the 
Magic  Sword  will  still  serve  me. 

[He  points  it  toward  the  Jack. 

Magic  blade,  and  hilt  of  gold, 
Work  the  charm  as  thou  art  told ! 

[The  Jack  springs  toward  him  with  a  cry,  and 
then  stands  as  though  bewitched. 

FAIRY  PRINCE.  Henceforth  you  shall  have  no  power 
to  twist  your  face.  You  shall  have  no  home  but  the 
chest ;  and  you  shall  be  known,  not  as  the  Jumping- 
Jack,  but  as  the  Jack-in-the-box. 

JACK.    No,  no ! 

FAIRY  PRINCE.   Now,  into  the  box  with  you ! 

[Bewailing  and  wringing  his  hands,  the  Jack 
climbs  into  the  box,  where  he  stands  stiff 
and  motionless  as  plaster. 

FAIRY  PRINCE.  And  now,  lovely  Rosaline,  let  us 
away. 

OLD  DOLLS.    But  shall  we  never  see  you  again? 

ROSALINE.  Yes,  yes ;  when  I  am  a  fairy  I  will  often 
come  to  see  you.  You  will  see  me  come  slipping  in 


108       ST.    NICHOLAS   FLAYS   AND  OPERETTAS 

through  the  window  on  a  moonbeam,  to  tell  you  of 
the  happy  life  in  the  fairy  world. 

[A  cock  crows. 

FAIRY  PRINCE.  Hark !  The  cock  crows !  The 
housemaid  stirs,  and  the  night-moth  is  looking  for  a 
hollow  where  he  may  hide. 

PRINCE  AND  ROSALINE.   Away— away  to  Fairyland ! 


THE  FALSE  SIR  SANTA  GLAUS 

(A  Christmas  Masque  for  Young  and  Old) 
BY  E.  S.  BROOKS 

This  masque  is  designed  to  precede  the  Christmas  tree  at  a 
Christmas  party.  Its  action  may  call  for  the  help  of  the  entire 
company  to  assist  at  the  choruses.  All  the  children  in  the  room 
may,  if  desired,  be  massed  on  the  stage,  and  the  chorus  of  pa- 
rents may  be  given  by  the  audience  from  the  seats  they  occupy, 
provided  they  are  led  by  a  few  ready  voices  near  the  piano.  No 
special  decoration  is  needed  for  the  stage.  The  action  should 
take  place  near  the  Christmas  tree,  which  should,  if  possible, 
stand  behind  a  curtain,  or  be  screened  by  the  folding-doors, 
until  the  end  of  the  masque,  when  it  should  be  suddenly  dis- 
closed with  all  its  blaze  and  glitter.  The  "properties"  are 
simple,  and  none  of  the  costumes  need  be  elaborate,  but  the 
setting  can  be  as  greatly  diversified  and  elaborated  as  the  in- 
clination and  facilities  of  the  managers  permit.  Let  the 
choruses  and  speaking  parts  be  rendered  with  spirit.  Much  of 
the  text  can  be  sung  to  familiar  airs,  which  will  readily  suggest 
themselves  to  the  musical  directors. 

CHARACTERS 

MR.  MONEYBAGS  (afterward  the  False  Sir  Santa  Glaus).     Hard 
as  his  dollars,  and  "down  on  children." 

SANTA  GLAUS.    Positively  the  Only  Original  article.     No  con- 
nection whatever  with  the  spurious  imitation  above. 

JACK  FROST  AND  HIS  WIFE.     Firm  friends  of  the  Only  Original. 

JACK  o'  LANTERN.    The  pugnacious  young  page  of  the  False  Sir 
Santa  Glaus. 

THE  FAIRY  BOUNTIFUL.    All  glitter  and  spangles. 

109 


110        ST.  NICHOLAS   PLAYS  AND   OPERETTAS 

RED  RIDING-HOOD'S  WOLF       \  rni 

_       _      _.  )  The  False  Four.     The  base  and 

THE  BIG  BUGABOO  f      ,  .    ,.          ,.  ...     ^  . 

>      hireling  policemen  of  the  False 
THE  WHOOPING-COUGH  MAN  [ 

V       Sir  Santa  Glaus. 
THE  WANDERING  JEW  j 

DICK  ^ 

ETHEL  >  Who  do  the  talking  for  the  rest  of  the  children. 

CURLY-LOCKS  ) 

THE  CHORUS  OF  CHILDREN.  THE  CHORUS  OF  INDULGENT  PARENTS. 

COSTUMES  AND  PROPERTIES 

MR.  MONEYBAGS  may  be  a  "grown  man"  or  a  big  boy.  May 
be  dressed  in  street  costume  at  first.  When  he  appears  as  the 
FALSE  SIR  SANTA  GLAUS  he  should  wear  a  full-dress  suit  of 
fashionable  cut,  with  opera  hat,  white  kids,  big  watch-chain, 
trim  white  wig,  white  mustache  and  side-whiskers— as  great  a 
contrast  as  possible  to  the  conventional  Santa  Glaus. 

SANTA  GLAUS  should  be  made  up,  as  customary,  "in  fur  from 
his  head  to  his  foot,  a  bundle  of  toys  flung  on  his  back,"  etc. 
Another  "  grown  man  "  or  big  boy  should  be  selected  for  this 
part. 

JACK  FROST  (boy  of  fifteen)  and  his  WIFE  (girl  of  thirteen). 
Pretty  ice-and-snow  suits  of  white  Canton  flannel  with  swan's- 
down  trimming,  sprinkled  with  silver  powder.  They  carry  sil- 
ver wands. 

JACK  o'  LANTERN.  Agile  boy  of  twelve,  in  tight-fitting  fancy 
or  jester's  suit. 

THE  FAIRY  BOUNTIFUL.  Girl  of  sixteen.  Fancy  white  dress, 
wings,  and  spangles  ;  silver  wand. 

RED  RIDING-HOOD'S  WOLF.  Boy  of  sixteen,  in  fur  robe  or 
coat,  with  wolf's-head  mask,  and  movable  jaws,  if  possible. 

THE  BIG  BUGABOO.  Tall  youth  of  sixteen  or  eighteen,  with 
demon's  mask  or  some  ugly  face.  Dressed  in  close-fitting  red 
suit. 

THE  WHOOPING-COUGH  MAN.  Boy  of  sixteen,  doubled  and 
bent,  with  basket  and  crook,  whitened  face,  and  light  clothes. 

THE  WANDERING  JEW.  Big  boy  in  old  black  suit,  shocking 
bad  hat,  and  bag  full  of  "old  clo'es." 

DICK.    A  bright  boy  of  fourteen. 


THE  FALSE  SIR  SANTA  GLAUS  111 

ETHEL.   A  bright  girl  of  twelve. 

CURLY-LOCKS.    A  pretty  little  girl  of  six  or  eight. 


As  the  curtain  rises,  the  children  rush  in  pell-mell,  singing : 
Moderate. 


ES«EE 

P-*--4--fc=tEtC=3b=  =1     » 


Please  clear    the      way    for      us, 


Please  clear  the    way  for    us,     las  -  sie   and  lad. 

$ 1 r^4— r— T^3 1— r— I- 


— y-a-* 1 1 H— i 1 1 — t 1 1 ' ^ — r — i 


112       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 


Here    are    no  wea  -  ry  ones,  Here   are    no    drear-y  ones, 


^bj=^zp^^=g=^^:^^^ 


i=r=ta 


Christ -mas   has  come,   and    we    chil -dren  are  glad; 


Christ  -  mas  has  come,    and    we     chil  -  dren    are 


THE  FALSE  SIR  SANTA  GLAUS  113 

CHORUS  OF  INDULGENT  PARENTS  [In  audience] 

Shout  it  out !     Sing  it  out !     Clear  voices  ring  it  out ! 

Ring  out  your  glee,  every  lassie  and  lad. 
Under  the  holly,  now,  sing  and  be  jolly,  now; 

Christmas  has  come  and  the  children  are  glad ! 

CHORUS  OF  CHILDREN 

Hurry  all !     Scurry  all !     We  're  in  a  flurry  all ! 

We  're  in  a  flurry,  with  happiness  mad. 
Gaily  we  sing  to  you ;  welcomes  we  bring  to  you ; 

Christmas  has  come  and  we  children  are  glad ! 

[Enter  Mr.  Moneybags,  account-book  in  hand. 
He  shakes  his  fist  at  children. 

MONEYBAGS. 

What  a  rumpus  !     What  a  clatter ! 
Why,  whatever  is  the  matter  ? 
All  this  rout  and  shout  and  riot  is  distracting  to 

my  brain. 

You  7ve  disturbed  my  computations 
With  your  singing  and  gyrations, 
And  you  Ve  mixed  my  figures  up  so,  I  must  add 

'em  all  again. 

ETHEL.     Oh,  stupid  Mr.  Moneybags,  where  are  your 
senses,  pray,  sir? 

DICK.     Why,  don't  you  know — of  course  you  do ! 
— that  this  is  Christinas  Day,  sir  ? 

CURLY-LOCKS.     'T  is  Christmas,  sir— the  children's 
day! 

ETHEL,  DICK,  AND   CURLY-LOCKS.      [Shaking   their 
fingers.]     And  please  to  understand — 


114       ST.  NICHOLAS  PLAYS  AND   OPERETTAS 

ALL  THE  CHILDREN.     We  're  waiting  here  for  Santa 
Glaus  to  come  from  Somewhereland. 


CHORUS  OF  INDULGENT  PARENTS 

Don't   scold   them,   Mr.   Moneybags,   for,   please    to 

understand, 
They  're  waiting  here  for  Santa  Claus  to  come  from 

Somewhereland. 

MONEYBAGS.     [Much  disgusted.} 

For  what  ?     For  whom  1    For  Santa  Claus  ? 

;T  is  past  my  comprehension 
That,  in  this  nineteenth  century, 

Such  foolishness  finds  mention  ! 
For  Santa  Claus  ?     No  bigger  fraud 

Has  ever  yet  been  planned  ! 
There  is  n?t  any  Santa  Claus, 

Nor  any  Somewhereland ! 

[Consternation  among  the  children. 

ETHEL.  [Indignantly.]  Oh,  wicked  Mr.  Money- 
bags, how  can  you  be  so  cruel ! 

DICK.  [Pathetically.]  Why,  Christmas  without 
Santa  Claus  is  weak  as  watered  gruel ! 

ETHEL  AND  CURLY-LOCKS.  [Sorrowfully.]  We  can't 
believe  you ! 

DICK.     [Vehemently.]     And  we  won't! 

ETHEL,  DICK,  AND  CURLY-LOCKS.  [With  warning 
finger]  So  please  to  understand— 

ALL  THE  CHILDREN.  [  Vociferously.}  We  're  wait- 
ing here  for  Santa  Claus  to  come  from  Somewhere- 
land. 


THE  FALSE  SIR  SANTA  CLAUS  115 

CHORUS  OF  INDULGENT  PARENTS 

They  can't  believe  you,  and  they  won't,  for,  please  to 

understand, 
They  're  waiting  here  for  Santa  Glaus  to  come  from 

Somewhereland. 
MONEYBAGS.     [Aside.] 

It  seems  to  me  it  would  be  wise 

To  stop  this  superstition  j 
To  open  these  young  eyes  to  fact 

Would  be  a  useful  mission. 
So  I  '11  devise  a  little  scheme, 

And  try  it,  if  I  'm  able, 
To  bring  these  folks  to  common  sense, 

And  burst  this  foolish  fable. 
[Aloud.]  Well,  good-by,  youngsters ;  now  I  'm  off ! 

I  really  cannot  stand 
This  trash  you  talk  of  Santa  Claus 
Who  comes  from  Somewhereland. 

[Exit. 

DICK.  [Turning  to  children,  with  uplifted  hands.} 
No  Santa  Claus ! 

CHILDREN.  [Lifting  hands  in  dismay.]  No  Santa 
Claus ! 

CURLY-LOCKS.     [Tearfully.]     I  never  did— did  you? 

ETHEL.    [To  children,  hands  lifted.]   No  Santa  Claus  ! 

CHILDREN.  [Lifting  hands  solemnly.]  No  Santa 
Claus ! 

ALL.  [In  audible  tears.]  Boo-hoo,  boo-hoo,  boo- 
hoo ! 

ETHEL.  [Spitefully]  I  just  believe  he  's  telling 
fibs. 


116       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

DICK.     [Surlily.]     Of  course ! 
ETHEL.     [Dejectedly.] 
It  seems  to  me 

This  horrid  Mr.  Moneybags 
Is  mean  as  mean  can  be ! 
DICK.     [Decidedly.]     Of  course  he  's  fibbing. 
CURLY-LOCKS.     [Indignantly.]     Course  he  is. 
ETHEL.     He  does  it  just  to  tease  us. 
DICK. 

He  's  down  on  children ;  so,  you  see, 

He  never  wants  to  please  us. 
CURLY-LOCKS.     [Anxiously.]    Oh,  dear !  why  does  n't 
Santa  come? 

DICK.     Let 's  wish  him  here. 

CHILDREN.     [Incredulously.]    That  ;s— quirky. 

DICK.     [Stoutly.] 

?T  ain't !     Ethel  saved  a  wish-bone  up 

From  last  Thanksgiving's  turkey. 
CHILDREN.     All  right !     Who  '11  pull  it  ? 
ETHEL.     [Producing  the  ivish-bone.}     Dick  and  I. 
DICK.     [Examining  it.]      It  's    dry    enough.      Say 
when,  boys.     Catch  hold  here,  Ethel — wish  ! 
CHILDREN.    Now,  pull ! 

[Dick  and  Ethel  snap  the  wish-bone. 

ETHEL.     Dick  's  got  the  lucky  end,  boys ! 
CHORUS  OF  CHILDREN! 

Come  to  us,  come  to  us,  here  as  we  sing ; 
Come  to  us,  come  to  us,  Christmas  bells  ring. 
Come  to  us  quickly— nor  loiter,  nor  pause  j 
Come  to  us,  come  to  us,  old  Santa  Claus ! 
i  Try,  for  air,  "  Nelly  Bly." 


THE  FALSE  SIR  SANTA  CLAUS  117 

CHORUS  OF  INDULGENT  PARENTS 

Santa  Claus  !     Santa  Glaus  !     Jolly  old  saint ; 
Hark  to  them  !     Hear  to  them  !     List  to  their  plaint. 
Broken  the  wish-bone  !     All  wistful  they  stand — 
Come  to  them,  Santa  Claus,  from  Somewhereland ! 

[A  loud  clang  and  clash  outside.  Enter,  with 
double  somersault  or  long  jump,  Jack 
o'  Lantern.  The  children  start,  amazed. 

JACK  o'  LANTERN.  [With  comic  posture.}  Who 
calls  for  Santa  Claus,  I  'd  like  to  know  1 

ETHEL.  [Surveying  him  curiously.]  We,  Mr. — In- 
dia-rubber ! 

JACK  o'  LANTERN.    [Laughing  derisively.]   Ho,  ho,  ho  ! 

[Turns  a  double  somersault,  or  some  other 
nimble  contortion,  and,  striking  a  comical 
attitude,  says: 

With  a  clash  and  a  clang,  and  a  rattle ty- bang 

And  a  bumpity-jump  rather  risky, 
With  a  jounce  and  a  bounce,  Santa  Claus  I  announce  ! 

I  'm  his  page,  Jack  o'  Lantern  so  frisky. 
See  where  he  comes ;  stand  all  here  close  at  hand, 
Enter !  Sir  Santa  Claus  of  Somewhereland  ! 

[Enter  Moneybags  as  the  False  Sir  Santa  Claus, 
dressed  in  full-dress  suit,  as  indicated  in 
costume  directions.  The  children  start  back, 
surprised  at  seeing  a  person  so  different  from 
their  idea  of  Santa  Claus  in  dress  and  ap- 
pearance. Moneybags  surveys  them  through 
his  eye-glass  sourly. 

MONEYBAGS.  [Gruffly.]  Heigh-ho,  there,  you 
youngsters  !  Well,  how  do  you  do  ?  H'm— what  did 
you  say  ? 


118       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

ETHEL.     [Timidly.]     Oh,  we  only  said— oo-oo-oo  ! 
MONEYBAGS.     Well,  why  this  surprise  ?     Why  this 
staring  and  stir  ? 

CURLY-LOCKS.     [Showing   Mm  her   toy  look.}    We 
looked  for  that  kind  of  a  Santa  Glaus,  sir. 

MONEYBAGS.     [  TaMng  look  and  examining  it  critically 
through  eye-glass.] 

Hey  ?   what  kind  ?    Oh,  that !      Ah,   permit  me 

to  look ; 
Why,  Santa  Claus,  child,  does  n't  live  in  a  book ! 

[Reading  quickly.] 
H'm— " little   old  driver"— pshaw!  — "sleigh  full  of 

toys"— 
"Down  the  chimney" — that's  nonsense,  you  know, 

girls  and  boys. 

[Reading  again.] 
"  He  was  dressed  all  in  furs,  from  his  head  to  his 

foot, 
And  his  clothes  were  all  tarnished  with  ashes  and 

soot; 

A  bundle  of  toys  he  had  flung  on  his  back, 
And  he  looked  like  a  peddler  just  opening  his  pack. 
His  droll  little  mouth  was  drawn  up  like  a  bow, 
And  the  beard  of  his  chin  was  as  white  as  the  snow  j 
And  the  stump  of  a  pipe  he  held  tight  in  his  teeth, 
And  the  smoke  it  encircled  his  head  like  a  wreath. 
He  had  a  broad  face—" 

Oh,  that 's  nonsense,  I  say  j 
I  have  n't  looked  that  way  for  many  a  day ! 
I  dress  in  the  fashion ;  I  'm  solemn  in  speech, 
And  detest  all  the  folly  that  fable  would  teach. 


THE  FALSE  SIR   SANTA  CLAUS  119 

I  hate  to  be  bothered  with  children  and  toys, 

And  I  'm  down  on  this  Christinas  Day  worry  and 

noise. 

ETHEL.  [Anxiously.]  And  yonr  sleigh  ? — 
DICK.  [Dubiously.]  And  your  reindeer?— 
MONEYBAGS. 

All  sold— long  ago. 
They  were  quite  out  of  date— too  old-fashioned  and 

slow. 

What  with  steamships  and  railways  and  telegraph- 
wires, 

And  stores  overcrowded  with  sellers  and  buyers, 
And  modern  improvements  in  every  land, 
There  's  no  use  for  Santa  Glaus  now— understand? 

[Sings.] 

I  'm  a  thrifty  old  merchant  who  lives  at  the  Pole, 
A  sleep-loving,  ease-loving,  saving  old  soul ; 
1 7m  healthy  and  wealthy  and  wise  now,  because— 
I  Ve  done  with  the  nonsense  of  old  Santa  Claus ! x 

CHILDREN.     [Singing  poutingly.] 
He  's  a  selfish  old  merchant  who  lives  at  the  Pole, 
A  skinflint  old  miser,  as  mean  as  a  mole ; 
But  he  '11  never  siicceed  if  he  tries  to  pick  flaws 
In  the  joys  of  the  children— this  old  Santa  Claus ! 

INDIGNANT  PARENTS.     \Singing  snappishly.] 
He  's  a  heartless  old  merchant  who  lives  at  the  Pole ; 
For  his  comfort  and  ease  he  would  barter  his  soul. 
Come  away  from  him,  children ;  don't  trust  him,  be- 
cause— 
He  7s  a  fraud  and  a  miser— this  old  Santa  Claus ! 

1  Try,  for  air,  "The  Campbells  are  Coming." 


120        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

MONEYBAGS      [Bomng  loiv,  in  mock  humility.} 
Thanks  for  your  compliments,  kind  friends,  indeed ; 

I  '11  not  forget  your  praises ; 
'T  is  pleasure  rare  to  hear  and  heed 

Such  kind  and  courtly  phrases. 
But  this  I  know — you  11  soon,  with  speed, 

Give  up  these  Christmas  crazes. 

DICK.     [Emphatically.]     Well,  is  n't  this  dreadful  ? 

ETHEL.     \Tearfully.]     Oh,  dear,  I  could  cry! 

MONEYBAGS.     [  Threateningly.] 

You  'd  better  leave  that  for  the  "  sweet  by  and  by." 
If  there  's  one  thing  I  hate,  in  this  bedlam  appalling, 
It  is  to  hear  children  a-screaming  and  squalling. 
So,  if  you  attempt  it,  I  know  what  to  do  ! 

CURLY-LOCKS.      [Anxiously.]      Oh,    what   does   he 
mean? 

ETHEL.     I  don't  know. 

ALL    THE    CHILDREN.      [  Vociferously.]      Boo-hoo- 
hoo! 

MONEYBAGS.     [  Wrathfully.] 

What,  ho,  there  !      Hallo,  there  !      My  trusty  police, 
These  children  are  cranky— this  nonsense  must  cease. 
Come  in  here,  my  beauties,  these  children  to  tell 
Sir  Santa  Claus  knows  how  to  manage  them  well. 

[Enter  the  False  Four,  one  by  one.     Conster- 
nation on  the  part  of  the  children. 

MONEYBAGS.     [Checking  them  off  as  they  enter.] 
Here  's  Red  Riding-hood's  Wolf ! 
Here  's  the  Big  Bugaboo ! 
Here  7s  the  Whooping-cough  Man  ! 
Here  's  the  Wandering  Jew ! 


THE  FALSE  SIR  SANTA  CLAUS  121 

Are  n't   they    sweet?     What   's   the   matter?    You 

quiver  and  quake  so, 
One  would  think  you  were  frightened  to  see  you  all 

shake  so. 

DICK.     What  horrid,  ugly  people  ! 
ETHEL. 

Did  you  ever,  ever  see 
Such  dreadful  folks  invited  to  a  lovely  Christmas 

tree? 

MONEYBAGS. 
Speak  up,  my  gentle   serving-men,   and   tell   these 

children,  now, 
What  parts  you  play  on  Christmas  Day— and  when 

and  where  and  how. 

RED  RIDING-HOOD'S  WOLF.     [Snappishly.] 
I  've  great  big  ears,  and  I  've  great  big  eyes, 

And  I  've  great  big  teeth,  because— 
Oh,  yes,  you  've  heard  the  story  before- 
Just  look  at  these  beautiful  jaws  ! 

[Opening  mouth  very  wide. 

THE  BIG  BUGABOO.     [Solemnly.] 
I  'm  the  Big  Bugaboo  !     And  I  live  in  the  dark, 
With  my  grin  and  my  club.     And  I  wish  to  remark, 
I  know  all  the  bad  boys,  and  I  'm  looking  at  you  ! 
So,  don't  you  forget  I  'm  the  Big  Bugaboo ! 

THE  WHOOPING-COUGH  MAN.     [Astlimatically] 
I  'm  the  Whooping-cough  Man,  yes,  I  am — I  am — 

I  'm  the  Whooping-cough  Man  so  breezy  j 
And  the  bad  boys  I  fill,  yes,  I  will— I  will— 

With  my  choke  and  my  strangle  so  sneezy. 
And  the  little  girls,  too,  yes,  I  do— I  do— 


122       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

If  I  find  them  at  all  uneasy, 

Why— I  take  their  breath  off 
With  the  cough — the  cough. 

I  'm  the  Whooping-cough  Man  so  wheezy ! 

THE  WANDERING  JEW.     [Seductively.] 
"  Old  clo'es  !     Old  clo'es  !     Cash  paid  for  old  clo'es  !  " 

I  sing  through  the  streets  of  the  city, 
And  the  people  they  bring  every  ragged  old  thing 
When  they  hear  the  sweet  strains  of  my  ditty. 
[Impressively.] 
But  the  bad  girls  and  boys,  if  they  make  too  much 

noise, 

Or  if  words  with  their  betters  they  bandy, 
Why,  I  ups  with  their  heels, 
And  I  smothers  their  squeals 
In  my  bag  of  "  old  clo'es  "  so  handy ! 

[More  consternation  among  the  children. 

MONEYBAGS.     {Alluringly.} 
They  sometimes  give  boxes  at  Christmas,  you  know, 

Instead  of  the  stockings  and  trees. 
A  nice  Christmas  box  would  be  jolly  to  show— 

You  each  shall  have  one,  if  you  please. 
Come,  gather  around  me,  and  I  will  explain. 

[The  children  draw  near  in  anticipation. 

My  meaning  I  '11  make  very  clear : 
[Ominously.] 

If  children  are  cranky,  I  don't  speak  again, 
But  give  them— a  box  on  the  ear  ! 

[Tries  one  on  Dick,  with  bewildering  effect. 
The  children  retire  in  dismay,  and  sing  dole- 
fully: 


THE  FALSE  SIR  SANTA  GLAUS  123 

Slowly.        ,          K    J 


Dis  -  mal,  dole-f  ul     chil  -  dren,  Dole  -  f  ul  chil-dren 

PP_\ *L_J . , | ,._4___JS__J^_^ 

+-V-F-* — « 


-— '-'— 


Gone  is    all    our  pleasure,  Gone  is    all    our 

•J 


-»•          —**-  -^-      •*-  ft* -•-   -t" -»-      -•-    -•-     -•- 


glee Sing-ing  turns  to     sigh-ing;    Day    is  dark  be - 


124       ST.   NICHOLAS  PLAYS   AND   OPERETTAS 


cause...       He     is  such  an  aw  -  ful,     hor-rid  San-ta 


^    __  _r_  __  _  -, 


ggp=gzi=^==i=g^| 


-r 


Faster. 


Glaus....        Please  to  go,  please  to  go,  please  to  go   be-cause 


Faster. 


You're  not  what  we  look'd  for    m    old  San  -  ta  Glaus. 


*;  ^ —       U 


-    .    „      -  & 

— I— — i 1 1 —  ^ — f~ 


±^=&  •  n    fr — "'l^'1    I  n 


THE  FALSE  SIR  SANTA  CLAUS  125 

CHORUS  OF  DISTRESSED  PARENTS 

Worried,  flurried  parents,  worried  parents,  we  ! 
Pleasure's  sun  is  clouded,  gloomy  is  our  glee. 
Christmas  ends  in  crying,  hopes  are  dashed,  because— 
He  is  such  a  horrid,  hateful  Santa  Claus  ! 
Please  to  go,  please  to  go,  please  to  go,  because— 
You  're  not  what  they  looked  for  in  old  Santa  Claus  ! 

MONEYBAGS. 
What !     Go  1     Ah,  no ;  the  children  want  me  badly, 

The  darling,  snarling,  doleful  little  dears ; 
If  I  should  leave,  I  know  they  'd  miss  me  sadly ; 
I  know  they  love  me,  so  I  '11  spare  their  tears. 
What!     Go?    Ah,  no— not  while  I  ;ve   strength  to 

stand ; 
Why,  I  'm  Sir  Santa  Claus  of  Somewhereland ! 

THE  FALSE  FOUR.     [In  derisive  chorus.} 
What!     Go?    Ah,  no— not  while  we  've  strength  to 

stand ; 

Why,  he  's  Sir  Santa  Claus  of  Somewhereland ! 
JACK  FROST  AND  HIS  WIFE.     [Singing  behind  scenes.] 

Out  from  the  kingdom  of  ice  and  of  snow, 

Rollicking,  frolicking,  frisking  we  go  j 

Rollicking,  frolicking,  singing  in  glee ; 

Oh,  who  so  merry  and  cheery  as  we  ? 

Clear  rings  our  song,  all  the  day  long, 

All  the  glad  Christmas  Day,  Christmas  Day  long. 

Shout  the  gay  glories  of  Christmas  so  grand ; 

Shout  for  old  Santa  Claus  of  Somewhereland ! 

[Moneybags  and  the  False  Four  start  in  sur- 
prise at  the  sound  of  this  singing,  and  look 
at  each  other  anxiously. 


126      ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

MONEYBAGS. 

Say,  who  be  these  that  sing  so  blithe  and  free  ? 

Quick,  Jack  o'  Lantern,  find  this  out  for  me  ! 
JACK  o'  LANTERN.     [Reluctantly.] 
Excuse  me,  I  beg  •  I  'm  suspicious  of  dangers, 
And  it  ruffles  my  nerves,  sir,  to  interview  strangers. 
JACK  FROST  AND  HIS  WIFE.     [Singing  nearer.] 

Racing  and  chasing,  from  sunset  to  light, 

Painting  the  windows  with  traceries  bright ; 

Dancing  with  sunbeams,  all  sparkle  and  life, 

Oh,  who  so  gay  as  Jack  Frost  and  his  Wife  ? 

Oh,  who  so  gay,  all  the  glad  day, 

All  the  glad  Christmas,  the  glad  Christmas  Day  ? 

Shout  the  gay  glories  of  Christmas  so  grand ; 

Shout  for  old  Santa  Claus  of  Somewhereland ! 

[Jack  o'  Lantern  clutches  Moneybags  by  the 
arm  and  drags  him  to  the  front. 

JACK  o'  LANTERN.     [Hurriedly  and  emphatically.} 
Jack  Frost  and  his  Wife,  sir, 
Oh,  run  for  your  life,  sir ! 
They  '11  stir  up  a  strife,  sir, 

And  interview  you. 
They  're  Santa  Claus  folks,  sir ; 
Have  done  with  your  jokes,  sir ! 
You  '11  be  pinched  and  poked,  sir— 

And  frost-bitten,  too  ! 
MONEYBAGS.     [Defiantly.] 
Pshaw  !    Who  7s  afraid  ? 
Here  on  my  rights  I  711  stand ! 
I  am  Sir  Santa  Claus  of  Somewhereland ! 

[Enter  Jack  Frost  and  his  Wife,  briskly. 


THE   FALSE   SIR   SANTA  CLAUS  127 

JACK  FROST. 

How  are  you,  youngsters  ?     Full  of  fun  and  life  ? 
I  am  Jack  Frost— 

His  WIFE.  And  I  'm  his  loving  wife 

JACK  FROST.     [Looking  at  the  children  anxiously.] 
What  's  the  matter  ?     Where  are  your  shouts  of  glee  ? 
Where  's  Santa  Glaus  ?     And  where 's  your  Christmas 
tree  ? 

DICK.     [Ruefully.]     There  '11  be  no  tree— 

ETHEL.     [Dolefully.]     And  Christmas  glee  is  o'er. 

CURLY-LOCKS.     [  With  a  great  sigh.]     Oh,  Mr.  Jack  ! 
Christmas  will  come  no  more. 

JACK  FROST     Why,  who  says  that,  you  curly  little 
elf? 

CURLY-LOCKS.     Oh,  don't  you  know?     Old  Santa 
Claus  himself ! 

JACK  FROST.     [Looking    all    around.]       Old    Santa 
here?     Where?     Not  among. that  band  ! 

DICK.     [Pointing  to  Moneybags.]     There  ! 

MONEYBAGS.     [Pompously.]     I  am  Sir  Santa  Claus 
of  Somewhereland ! 

JACK  FROST. 

You  ?     Well,  I  guess  not !     You,  sir  ?     Oh,  no,  no  ! 
That  7s  a  good  joke  !      You  Santa?     Ho,  ho,  ho  ! 

MONEYBAGS.     There,  that  will  do !     Be  off,  now ! 
Scatter !     Pack ! 

JACK'S  WIFE.     We  get  away  ?    I  guess  not !     Will 
we,  Jack  ? 

JACK  FROST.     [Dancing  derisively  before  Moneybags.] 
No,  not  for  such  a  fat  old  fraud  as  you ! 

[Then  to  children.]     This  False  Sir  Santa  Claus  is 
fooling  you ! 


128     ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

MONEYBAGS. 

Quick,  now,  my  good  policemen,  clear  them  out ! 
I  will  not  have  such  vagabonds  about. 

THE  FALSE  FOUR.  [Closing  around  Jack  and  his 
Wife.]  Move  on,  now  !  Come— move  on  !  You  ;re  in 
the  way  here ! 

JACK  FROST.  [  With  hand  to  ear,  sarcastically.}  1 'm 
just  a  little  deaf.  What 's  that  you  say,  here  ? 

THE  WHOOPING-COUGH  MAN.  [  Grasping  Jack  Frost's 
arm  roughly.]  Move  on,  I  say !  [Jack  Frost  touches 
him  with  his  ivand.]  Ah  ! 

JACK  FROST.  [Slyly.]  Well,  now  what  7s  the  mat 
ter? 

DICK.  [Touching  the  Whooping-cough  Man,  ivho  is 
motionless  as  a  statue.}  He  's  frozen  stiff ! 

[Jack  Frost  suddenly  touches  the  Big  Bugaboo 
with  his  wand. 

THE  BIG  BUGABOO.     Oh,  how  my  teeth  do  chatter ! 

[He  also  stands  motionless  and  stiff- 

ETHEL.     Oh,  see  there,  Dick  !     Feel  him  ! 

DICK.     He  's  frozen,  too. 

JACK  FROST.  Jack's  magic  wand  froze  the  Big 
Bugaboo ! 

JACK'S  WIFE. 

They  both  are  frozen  up,  too  stiff  to  wink  • 
They  '11  let  us  stay  here  now  awhile,  I  think ! 

ETHEL.  [Pointing  to  Moneybags.]  But  is  n't  he 
Santa  Glaus  ? 

JACK  FROST.     He  ?     Bless  you,  no  ! 

MONEYBAGS.     H'm  !  how  will  you  prove  it? 

JACK  FROST.     That 's  easy  to  show. 


THE  FALSE  SIR  SANTA  CLAUS  129 

MONEYBAGS.    Well,  show  it ! 

JACK  FROST.     I  will,  sir !     I  will— don't  you  fret ! 

JACK'S  WIFE.     Oh,  False  Sir  Santa  Claus,  we  '11  beat 
you  yet ! 

MONEYBAGS.     [Snapping  his  fingers  contemptuously.] 
What  can  you  do  ? 

JACK  FROST. 

Oh,  quite  enough,  I  think ; 
We  '11  do  enough,  I  know,  to  make  you  shrink. 
I  '11  summon  up  each  fairy,  gnome,  and  elf ; 
I  '11  call— I  '11  call  old  Santa  Claus  himself  ! 
I  '11  tell  him— no— for  first  I  '11  stop  this  strife, 
Or  we  will  (won't  we,  dear?)— Jack  Frost  and  Wife  ! 

[They  rush  with  their  magic  wands  to  Red  Rid- 
ing-hood's Wolf  and  the  Wandering  Jew, 
who  are  at  once  frozen  to  statues  and  stand 
stiff  and  rigid.  Jack  o'  Lantern  runs  off. 

DICK.     Hey  !     The  Wandering  Jew  7s  frozen  stiff 
as  a  stake ! 

ETHEL.     So   's   Eed   Riding-hood's    Wolf!     What 
nice  statues  they  make  ! 
ALL  THE  CHILDREN.     [Exultantly.] 

And  now,  hip,  hurrah  !     Let  Jack  go,  if  he  can, 
For  this  horrible,  terrible  Santa  Claus  man ! 

[Jack  Frost  and  his  Wife,  dancing  around 
Moneybags,  pinch  and  poke  him,  while  he 
winces  and  dodges  and  shivers,  and  the  chil- 
dren jump  for  joy. 

JACK  FROST  AND  HIS  WIFE. 

We  '11  nip  his  nose  and  tweak  his  toes ; 

With  cold  he  '11  shake  and  shiver ! 
We  '11  twinge  his  ears  and  freeze  his  tears 

Until  he  '11  quake  and  quiver. 


130       ST.  NICHOLAS  PLAYS  AND   OPERETTAS 

We  '11  cover  him  nice  with  a  coat  of  ice, 

While  he  '11  shiver  and  sneeze  and  stumble ; 
No  Santa  Glaus  he  !     A  fraud  he  must  be : 
He  's  nothing  but  glitter  and  grumble.1 
MONEYBAGS.     [Aching  with  cold.] 
Br-r-r !    Oo-oo-oo  !     I  'm  cold  !    Oh,  hold  there,  hold  ! 

Do  save  me  from  this  ice  man. 
Ah,  boo— I  freeze  !     My  nose  !     My  knees  ! 
Do  stop  it— there  's  a  nice  man ! 

[Enter  Jack  o'  Lantern  hastily,  with  a  stick 
painted  to  look  like  a  red-hot  iron  bar. 

JACK  o'  LANTERN. 

Here  's  a  red-hot  bar  I  Ve  brought,  sir  • 
Heat  will  thaw  you— so  it  ought,  sir; 
Now  I  '11  try  what  heat  will  do,  sir. 

[Pokes  Moneybags  with  the  bar. 
That  's  for  you  ! 

[Lays  it  on  Jack  Frost's  back. 
And  that  's  for  you,  sir ! 

MONEYBAGS.      [Jumping   with    pain,  but    relieved.} 
Ouch  !  that  's  better — what  a  pelting  ! 

JACK  FROST.     [Growing  limp  and  drooping  as  the  hot 
iron  thaivs  him  out.} 

Wifey,  quick  !     I  'm  limp  and  melting  ! 
Come,  with  magic  wand  revolving; 
Here  's  your  Jacky  fast  dissolving ! 
JACK'S  WIFE. 

Courage,  Jacky ;  here  I  come,  dear ; 

My !  you  're  getting  thin  and  numb,  dear. 

There  !     I  '11  stop  this  in  a  trice,  sir. 

[Touching  Jack  o'  Lantern  with  her  wand. 
1  Try,  for  air,  "  Grandfather's  Clock/' 


THE  FALSE  SIR  SANTA  CLAUS  131 

Jack  o'  Lantern,  turn  to  ice,  sir ! 

[Jack  o'  Lantern  becomes  a  frozen  statue. 
Noise  of  sleigh-bells  heard,  and  then  Santa 
Glaus  is  heard  shouting,  behind  scenes. 

SANTA  CLAUS.     [Outside.] 
Now,    Dasher !     Now,  Dancer !     Now,   Prancer  and 

Vixen ! 

On,  Comet !     On,  Cupid  !     On,  Donder  and  Blitzen  ! 
To  the  top  of  the  porch,  to  the  top  of  the  wall, 
Now,  dash  away  !  dash  away  !  dash  away,  all ! 

[The  children  listen,  amazed  and  delighted. 
CHORUS   OF   CHILDREN1 

Hark  !  we  hear  the  jangle,  jingle ; 
Hark  !  we  hear  the  tangle,  tingle  j 
Hear  the  jingle  and  the  tingle  of  the  sleigh-bells  sweet 

and  strong. 

Welcome,  welcome,  rings  our  greeting ; 
Joyful,  joyful,  is  the  meeting ; 
Sweet  the  greeting  and  the  meeting,  sing  the  welcome 

loud  and  long. 
Jingle,  jangle,  tingle,  tangle, 
Christmas  joy  shall  know  no  pause. 

Tangle,  tingle,  jangle,  jingle, 
Welcome  to  you,  Santa  Claus  ! 

CHORUS  OF  HAPPY  PARENTS 
Jingle,  jangle,  tingle,  tangle,  etc. 

SANTA  CLAUS.    [Entering  with  a  rush,  shaking  snow  off.  ] 
Hello  !  Merry  Christmas  !     I  hope  I  'm  on  time  ! 
With  the  rivers  I  cross  and  the  mountains  I  climb, 

1  Try,  for  air,  the  " Galop"  from  "Gustavus." 


132        ST.  NICHOLAS   PLAYS  AND  OPERETTAS 

With  the  roofs  that  I  scale  and  the  chimneys  I  drop 

down, 

By  the  day  after  Christmas  I  'm  ready  to  flop  down. 
But  what  if  I  do  get  so  tired  with  trotting  f 
Your  joy  gives  new  strength  for  my  planning  and 

plotting. 

My  reindeer  are  fleet,  and—  Hello  !    What 's  the  mat- 
ter? 
Something  's  wrong  here— or  else  J'm  as  mad  as  a 

hatter ! 

Why  is  Mr.  Jack  Frost,  there,  so  slimpsy  and  droopy  ? 
Who  are  these  funny  statues  so  cold  and  so  croupy  ? 
Why  are  not  all  these  little  folks  happy  and  hearty? 
And — well — bless  my  stars  !     Who  's  that  pompous 
old  party  ? 

MONEYBAGS.     \Admncing.]     I  am  Sir  Santa  Glaus 
of  Somewhereland ! 

SANTA  GLAUS.     [Quizzing  him.] 

Ho  !  are  you  ?     Well,  old  fellow,  here  's  my  hand  ! 

So  you  're  Sir  Santa  Glaus?     Well— by  the  by— 

If  you  are  he— why,  bless  me !  who  am  I? 

MONEYBAGS.    [Loftily.]     I  have  no  doubt,  sir,  you 're 
some  low  impostor. 

SANTA  GLAUS.     Well,  come,  that  's  friendly  !     I  '11 
look  up  the  roster. 

But,  still,— I  think,— as  far  as  I  am  able, 

I  ;ve  been  old  Santa  Glaus  since  the  days  of  fable. 

How  is  it,  little  folks  ?    We  '11  leave  to  you 

To  say  which  is  the  False  one— which  the  True? 

DICK.     \Detidedly.]     Oh,  you  're  the  true  one  ! 

CURLY-LOCKS.     Certain  sure ! 

SANTA  GLAUS.     [Inquiringly.}     Because?— 


THE  FALSE   SIR   SANTA  CLAUS  133 

ETHEL.     We  know  that  he's  the  False  Sir  Santa 
Glaus. 

SANTA  GLAUS. 

Well,  well ;  that 's  logic  !     Then,  by  your  decree, 
What  shall  the  sentence  of  this  culprit  be  ? 
DICK.     [  Vindictively.]     Let  's  tar  and  feather  him  ! 
ETHEL.     And  freeze  him,  too  ! 
SANTA  GLAUS.     Well,  little  Curly-locks,  and  what 
say  you  ? 

CURLY-LOCKS.     [Reflecting.] 

He  's  been  so  dreadful  naughty,  I  should  say 
It 's  best  to  make  him  good  again  to-day. 
If  ive  are  good  to  him,  why,  don't  you  see, 
He  '11  have  a  chance  to  try  and  gooder  be  ? 
SANTA  GLAUS. 

Why,  bless  you  for  a  rosy  little  saint ! 
You  've  found  the  cure  that  's  best  for  his  com- 
plaint. 

What,  Mr.  Moneybags,  shall  your  answer  be, 
Now  that  you  've  heard  this  little  maid's  decree  ? 
Do  you  appreciate  the  magnanimity 
Extended  you  by  this  small  judge  in  dimity  ? 

MONEYBAGS.     [Dropping  humbly  on  one  knee  before 
Curly-lochs.} 

I  'm  conquered  completely,  as  you  may  see, 

And  I  bow  to  your  gentle  sentence ; 
And  I  humbly  beg,  on  my  bended  knee, 
Your  pardon — with  true  repentance. 
1  have  been  such  a  horrible,  cross  old  bear, 

With  never  a  soul  above  dollars ; 
But  I  promise  you  now,  if  my  life  you  spare, 
To  be  one  of  your  happiest  scholars. 


134        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Hereafter  my  days  shall  have  more  of  glee ; 

With  the  children  I  '11  frolic  and  roam,  ma'am, 
And  I  '11  give  one  half  of  my  fortune,  free, 

To  the  Destitute  Children's  Home,  ma'am. 
SANTA  GLAUS.     [Clapping  Mm  on  the  back.] 

Bravo  !     Now  joy-bells  ring  out  clear  and  free  ; 
Come  with  me,  children,  to  the  Christmas  tree  ! 

[Enter  the  Fairy  Bountiful,   with  a  burst  of 
music.     All  stand  surprised. 

THE  FAIRY  BOUNTIFUL. 

One  moment  tarry,  ere,  with  wonders  sweet, 
The  tree  shall  make  your  Christmas  joys  complete. 
One  thing  remains :     List,  while  I  tell  to  you 
What  Fairy  Bountiful  would  have  you  do. 
In  the  old  days,  when  Valor,  Truth,  and  Right 
Would  fight  the  Wrong  and  conquer  wicked  Might, 
The  champion  brave  his  sure  reward  would  see, 
And  by  his  king  or  queen  would  knighted  be ; 
And,  as  his  shoulders  felt  the  royal  blade 
Give  the  glad  stroke  they  called  the  "  accolade," 
These  welcome  words  came,  as  his  guerdon  due : 
"  Rise  up,  Sir  So-and-so,  good  knight  and  true  ! " 

Without  old  Santa  Claus,  the  children's  fun 

At  Christmas-tide  could  never  be  begun. 

In  their  glad  hearts  the  champion  he  '11  stand— 

Their  good  old  friend,  who  comes  from  Somewhere- 

land. 

Let,  then,  the  title  that  this  False  one  bore 
Come  to  the  True,  with  love  in  goodly  store. 
Kneel  down,  old  Santa  Claus,  while  with  ready  blade 
Sweet  Curly-locks  shall  give  the  "  accolade  "  ! 


THE  FALSE  SIR  SANTA  CLAUS  135 

[Santa  Clans  kneels  before  Curly-locks,  who 
touches  him  lightly  on  the  shoulder  with  the 
fairy's  wand. 

CURLY-LOCKS. 

Good  knight  and  true  !     Dear  to  the  girls  and  boys, 
Friend  of  their  fun  and  helper  in  their  joys, 
Receive  this  honor  from  the  children's  hand. 
Rise  up,  Sir  Santa  Glaus  of  Somewhereland  ! 

SANTA  GLAUS.     [Rising.] 

Thanks,  thanks  to  you,  Curly-locks  gentle  and  true ; 
Thanks   all,   girls   and   boys,   for   this   honor   from 

you. 

I  '11  be  loyal  and  leal  to  your  joyous  young  cause. 
Health  and  wealth  to  you  all !  says  your  friend  Santa 

Glaus. 

Now,  rally  all,  rally  all,  rally  with  me, 
Round  the  wonders  and  sights  of  the  bright  Christmas 

tree. 

Give  a  cheer  and  a  shout  and  a  chorus  because— 
We  have   routed    and  conquered  the   False   Santa 

Glaus ! 

During  the  chorus  that  follows,  in  which  the  parents  should 
join,  the  curtain  or  doors  should  slowly  open  and  disclose  the 
Christmas  tree,  around  which  the  children,  with  Santa  Glaus  at 
their  head,  should  march  as  they  sing : 

Modf,rato. 


•&• :J____         -1-       -g-  -*-    ?»__&. 


136       ST.   NICHOLAS  PLAYS  AND   OPERETTAS 


When  the  chil-dren  are  safe    in   the  Land  of    Nod,  All 


Scherzo. 


sleep-i  -  ly      snug  in  their  plac  -     es,     Then   o  -  ver  the 


chimney-tops,  jol-ly  and  odd,  Old  San-ta  Glaus  rushes  and 


CHOKUS. 


rac  -    es;  Then  ring  out  and  sing  out  the  wel  -  come  we 


THE  FALSE  SIK  SANTA  GLAUS  137 


give,  Our    love  he  will  al  -  ways  command.  Hur- 


>i— 


-'=£— 


rah  for  San-ta  Glaus!  long  may  he  live    At  his    castle  in 

J \. I 1— 


±rt= 


H=t: 


Somewhereland;  Hur-rah!  Hur-rah!  for 


138       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

-fe— m  f  -(*—r    i         i»     m  y— 


ta  Glaus !  long     may  he      live         At 

>• 

^j=r.-—  H — : 

^=^W^=^EE^ 


*y  -^-  -•-  -•-  -(&-    •       -+• 


i          i 

his     castle  in    Somewhereland. 


ff 


While  Christmas-tide  comes  with  its  laughter  and  glee, 

Our  hearts  shall  keep  green  as  the  holly, 
If  there  in  the  circle  with  smiles  we  may  see 

Old  Santa  Glaus  merry  and  jolly. 

CHORUS.    Then  ring  out,  etc. 
Then  round  the  glad  Christmas  tree  rally  with  joy ; 

Let  Love's  happy  sun  shine  in  gladness. 
Sing  it  out,  every  girl,  sing  it  out,  every  boy ; 

Old  Santa  Claus  banishes  sadness. 
CHORUS.    Then  ring  out,  etc. 

Distribution  of  Gifts  and  General  Jollity. 


A   SIXTEENTH-CENTURY   CHRISTMAS 

BY  CHARLES  A.  MURDOCK 

INTRODUCTORY 

The  purpose  of  this  entertainment  is  to  reproduce  a  Christ- 
mas scene  of  Shakspere's  time,  both  for  its  own  sake  and  as 
an  attractive  setting  for  the  delightful  old  Christmas  carols 
which  never  can  wear  out. 

It  is  especially  adapted  to  a  church  choral  society,  or  to  the 
older  pupils  of  a  Sunday-school  or  an  academy,  and  it  also 
brings  in  a  good  number  of  the  younger  children. 

It  admits  of  any  desired  changes  as  to  the  music  designated, 
though  the  quaint  old  carols  should  be  adhered  to.  The  Waits, 
if  possible,  should  be  a  well-trained  male  quartet. 

The  costumes  should  be  carefully  consistent,  and  pains  must 
be  taken  to  secure  effective  grouping  of  the  company.  The 
picture  will  be  finer  if  the  gentlemen  generally  stand ;  and  the 
short  benches  on  which  most  of  the  ladies  may  sit  should  be  of 
varied  heights. 

SIR  TRISTRAM  and  LADY  GERALDINE  should  occupy  antique 
chairs  on  a  dais  at  the  side  of  the  stage,  and  the  JESTER,  while 
moving  freely  around,  will  be  in  place  near  their  feet. 

The  company  should  move  about  as  opportunity  offers,  rising 
to  sing,  and  avoiding  stiffness  and  indifference  to  what  is 
going  on. 

The  "Lord  of  Misrule"  and  his  followers  must  be  very 
spirited,  making  a  whirlwind  of  fun  and  noise  during  their 
brief  appearance. 

CHARACTERS 

SIR  TRISTRAM,  an  English  gentleman. 
LADY  GERALDINE,  his  wife. 
139 


140       ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

LADY  BEATRICE,  a  guest,  who  sings. 
LITTLE  EDITH,  the  grandchild. 
MASTER  RIVERS,  another  tuneful  guest. 
A  JESTER. 

GREGORY,  a  servant. 
HUGO,  a  servant. 

Waits,  ladies  and  gentlemen,  the  "Lord  of  Misrule" 
and  his  merry  band,  children,  etc. 

SCENE.— An  old  English  hall. 
Curtain  rises,  discovering  two  servants  and  a  jester. 

GREGORY.  By  the  mass,  this  is  the  merriest 
Christmas  I  e'er  did  see.  Didst  ever  know  such 
goings  on  ?  Such  eating,  and  drinking,  and  frolick- 
ing ?  What  a  dinner  had  we  the  day !  and  ods- 
body,  what  a  pudding  was  that !  They  perforce  left 
enough  for  us  to  feast  withal. 

HUGO.  Ay,  that  they  did,  and  right  royally.  I 
tell  thee,  Gregory,  we  do  well  to  live  in  these  days 
of  good  Queen  Bess,  when  there  7s  plenty  to  eat  and 
drink.  I  warrant  thee  those  knavish  knights  we 
hear  of  oft  went  hungry. 

GREGORY.  The  more  fools  they.  I  care  not  for 
glory.  As  the  merry  play-actor  saith,  "I  am  one 
that  am  nourished  by  my  victuals,  and  would  fain 
have  meat."  Ah,  Hugo,  that  's  a  rare  play;  it 
maketh  one  to  laugh  mightily.  The  master  goeth 
oft  to  see  it,  and  he  delighteth  in  that  merry  Launce. 
Marry,  thou  shalt  see  anon  how  pat  I  '11  do  't ;  the 
master  saith,  Christmas  or  no  Christmas,  I  shall 
present  Launce  and  his  dog. 

HUGO.  The  feasters  soon  shall  come,  I  trow.  'T  is 
eight  o'  the  clock.  How  now,  fool?  Why  art  thou 


142        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

drowsy?  Whence  these  doleful  dumps?  Awake 
and  give  us  a  taste  of  thy  drollery. 

JESTER.  Oh,  give  o'er,  I  prithee.  'T  is  sad  enough 
to  show  folly  to  the  wise.  My  pearls  are  not  for 
swine. 

HUGO.  Swine  !  Thou  unmannerly  knave  !  We  '11 
whack  thee  soundly  an  thou  mind'st  not. 

JESTER.  Nay ;  an  thou  canst  not  be  civil,  I  '11  take 
myself  away.  I  'd  fain  be  still.  I  'm  grinding  at 
my  mill  'gainst  the  Yule-tide. 

GREGORY.   What  mean'st  thou,  boy  ? 

JESTER.  Dost  think  we  men  of  mind  can  forthwith 
do  our  task  as  ye  can  lift  a  trencher?  Aforetime 
must  we  store  the  jest  that  seemeth  struck  like  flash 
of  steel.  E'en  now  I  'm  sitting  on  the  jokes  I  '11 
hatch  anon. 

GREGORY.   Ho,  ho  !  thou  art  rare,  Sir  Fool. 

JESTER.  Then  leave  me  lest  I  be  ivell  done  with 
such  a  scurvy  fire  as  you  would  give. 

GREGORY.  My  life,  but  thou  art  quick.  I  Avould  I 
had  your  wit. 

JESTER.  Oh,  covet  it  not,  good  Gregory.  Thou  art 
fool  enough  without  it. 

HUGO.  He  hath  thee  "on  the  hip,"  as  saith  the 
Jew.  Hark  !  I  hear  the  steps  of  the  gentles.  Let  us 
to  our  posts. 

[Enter  the  Christmas  company. 

SIR  TRISTRAM.  This  way,  good  friends.  I  pray 
you  be  merry  and  at  ease  j  make  our  home  your  own. 
My  sweet  wife,  here,  and  my  chicks  will  look  to  't 
that  a  Christmas  in  old  England  shall  not  see  you 


A  SIXTEENTH-CENTURY  CHRISTMAS  143 

want  for  anything.  In  our  simple  English  way  we 
bid  you  welcome  to  Yule-tide. 

LADY  GERALDINE.  Find  seats,  dear  hearts.  We  'd 
have  such  a  Christmas  Eve  as  would  drive  all  thoughts 
but  happy  ones  far  from  you.  'T  is  a  blessed  time, 
for  the  good  will  the  angels  sang  of  yore  gains  apace, 
and  in  this  fair  land,  far  from  those  lonely  heights 
where  the  shepherds  watched  their  sheep,  we  gather 
to  praise  Christ's  name,  and  show  each  to  each  the 
love  we  bear. 

SIR  T.  Ay,  she  speaketh  well.  I  own  't  is  true; 
but  I  fear  me  ye  may  not  be  merry.  My  wife  is  unco 
guid,  as  the  canny  Scots  would  say,  but 

1 7m  yet  a  sinner 

Who  loveth  dinner, 
And  fain  would  see  you  gay  j 

I  fear  not  folly, 

I  'd  e'er  be  jolly, 
Nor  work  when  I  can  play. 

JESTER.   Oh,  nuncle,  thou  mak'st  me  weary. 

SIR  T.   How  now,  gentle  Jester,  why  dost  repine  ? 

JESTER.  It  is  my  sweet  privilege  to  play  the  fool, 
and  it  likes  me  not  when  you  begin. 

SIR  T.   You  rascally  lout,  what  mean  you  ? 

JESTER.  Know  you  not  there  is  a  time  for  all 
things?  The  mistress  would  have  us  gay,  but  she 
hath  sense  to  know  that  they  only  can  be  truly 
happy  who  are  truly  good. 

You,  my  wicked  lord,  nor  I,  nor  no  man 
E'er  can  happy  be  as  noble  woman. 


144       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

WOMEN.   Hear,  hear !  good  for  the  Jester. 

MEN.    [Derisively.]     Oh,  oh  ! 

SIR  T.  Ah,  you  sly  dog,  you  know  how  to  make 
friends  where  friends  are  worth  the  having. 

LADY  G.  Thank  you,  boy.  None  need  have  fear 
we  shall  be  too  serious.  And  now,  to  begin,  let  us 
sing  «  The  First  Nowel." 

SIR  T.  One  moment,  an  it  please  you.  [To  Jester.} 
Boy,  come  hither !  [Whispers  to  Jester,  who  runs  out.] 
I  hope  it  is  no  offense,  but  at  the  last  Yule-tide  the 
words  of  these  same  Christmas  carols  slipped  so 
villainously  from  our  minds  that  we  sang  but  illy,— 
and  it  is  no  marvel,  for  we  sing  them  but  once  the 
year, — so  I  bethought  me  to  send  to  London,  and 
Master  Evans  hath,  sent  me  here  the  words,  in  good 
fair  type,  that  all  may  read,  and,  not-  fearing  to  slip, 
may  sing  right  lustily.  Boys,  give  out  the  songs. 
Now  will  we  sing  "  The  First  Nowel." 

[They  sing. 

JESTER.  Nuncle,  that  is  a  goodly  song.  It  re- 
fresheth  my  spirits.  If  you  had  a  soul,  I  think  it 
would  do  it  good. 

SIR  T.  If  I  had  a  soul,  blockhead !  and  why  have 
I  not? 

JESTER.   I  give  it  up.     I  know  not  why. 

SIR  T.  But  what  proof  hast  thou  that  I  have 
not? 

JESTER.  Art  a  philosopher  and  askest  me  to  prove 
a  negative?  It  resteth  for  thee  to  prove  that  thou 
hast. 

SIR  T.   And  how  can  it  be  done,  my  pretty  knave  ? 


A  SIXTEENTH-CENTURY  CHRISTMAS  145 

JESTER.   Marry—    [Sings.] 

Now,  mark  me !  do! 

But  show  a  ray 

Of  love  for  me, 

It  goetli  far 

To  prove  thy  soul. 

Now,  say  not  la  ! 

But  let  us  see 

Your  cake  's  not  dough. 

SIR  T.  Good,  fool!  By  all  the  saints,  this  is 
admirable  nonsense.  Thou  hast  earned  the  cross, 
and  shalt  bear  it. 

[Giving  money. 

JESTER.  Oh,  no ;  I  'm  not  musical  for  nothing.  I 
cannot  draw  silver  music  from  a  heart  of  flint.  Not  I, 
forsooth.  ?T  is  the  caitiff  wretch  that  bideth  round 
the  corner. 

SIR  T.  Now,  let  the  frolic  begin.  Ho,  Gregory ! 
Hugo !  go  bid  my  hinds  bring  hither  the  Yule  log. 
[Exeunt  G.  and  H.]  Now,  friends,  bethink  you  that 
care  7s  an  enemy  of  life.  As  saith  young  Hamlet : 
"What  should  a  man  do  but  be  merry?"  Master 
Shakspere  giveth  us  another  good  text  in  "  Richard 
II " :  "  Be  merry,  for  our  time  of  stay  is  short."  Let 
us  all  stand  up  and  shout  for  Yule-tide  joy. 

[All  stand  and  hurrah.     Ladies  wave  handker- 
chiefs.    Log  brought  in. 

Come,  bring  with  a  noise, 
My  merry,  merry  boys, 
10 


146       ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

The  Christmas  log  to  the  firing, 

While  my  good  dame  she 

Bids  ye  all  be  free 
And  drink  to  your  health's  desiring. 

LADY  G.  Let  us  raise  our  voices  in  the  grand  old 
carol,  "  From  Far  Away." 

SIR  T.  Ah,  goodwife,  thou  choosest  well.  I  love 
that  same  old  song. 

LADY  G.  Be  seated,  all.  Frame  your  minds  to 
mirth  and  merriment,  for  now  ;t  is  seasonable. 

SIR  T.  Boy,  cannot  you  sing?  Too  much  carol 
maketh  me  sad.  I  fain  would  have  a  stirring  ditt}T 
—or  a  rollicking  ballad. 

JESTER,  Ah,  master,  Heaven  is  not  so  partial  to 
any  mortal  as  to  make  him  beautiful  and  wise,  and 
then  to  gild  him  with  the  power  of  song.  I  'm  no 
nightingale,  nor  be  I  a  lark  (though  perchance  at 
times  I  aid  one— but  that  is  apart). 

LADIES.   Oh,  sing,  sweet  youth. 

JESTER.  It  ill  beseemeth  me  to  say  you  nay.  To 
decline  mayhap  were  more  inglorious  than  to  fail, 
but  i'  faith  I  cannot.  I  'm  coltish  to-night. 

SIR  T.    Coltish  ?     What  rnean'st  thou  ? 

JESTER.  Why,  a  little  hoarse.  An  it  please  you 
ask  Master  Rivers  to  sing.  He  hath  a  marvelous  fine 
voice,  and  knoweth  a  ballad  't  would  make  ye  merry 
to  hear. 

LADY  G.  Thou  speakest  well.  Good  Master  Rivers, 
favor  us,  an  thou  wilt,  with  thine  antique  song. 

MASTER  R.  An  it  please  you,  my  lady,  I  '11  sing 
from  now  till  Michaelmas. 


A  SIXTEENTH-CENTURY  CHRISTMAS  147 

JESTER.    Oh,  not  so  long,  good  master.     Be  brief, 
if  you  would  win  our  love. 

[Master  Rivers  sings  "The  Leather  Bottle," 
from  "Pan  Pipes."  All  clap  hands  and  cry 
"Good!" 


SIR.  T.  My  thanks,  good  friend.  The  performance 
doth  thee  credit.  I  would  I  had  thy  voice— and 
thy  years.  Well,  sweet  wife,  't  is  thy  choice  next. 


148        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 
What  wilt  thou  offer  to  our  guests  and  the  general 


LADY  G.  Good  my  lord,  our  little  grandchild, 
Edith,  hath  a  verse.  Brief  is  it,  but  beautiful. 
'T  was  writ  by  Master  George  Herbert,  and  "  Love- 
joy"  calls  he  it.  Come  hither,  Edith.  Now,  sweet 
child,  say  thy  little  lines. 

EDITH.    [Recites.] 

on  a  window  late  I  cast  my 
eye, 

saw  a   vine   drop   grapes 
with  J  and  C 
Anneal'd    on    every   bunch. 

One  standing  by 
Ask'd  what  it  meant.    I  (who 

am  never  loath 
To  spend  my  judgment)  said : 

"  It  seem'd  to  me 

To  be  the  body  and  the  letters  both 
Of  Joy  and  Charity."     "  Sir,  you  have  not 

missed," 
The  man  replied.    "  It  figures  Jesus  Christ.'' 

SIR  T.  "  Sweet  invocation  of  a  child,  most  pretty 
and  most  pathetics!."  Now  will  we  have  a  bit  from 
a  bright  play.  My  servant,  Gregory,  is  no  Burbage, 
but  he  doth  something  smack;  he  hath  a  kind  of 
taste  for  the  player's  art,  and  will  now  give  you  the 
speech  of  Launce,  from  "The  Two  Gentlemen  of 
Verona."  The  dog  you  see  not.  'T  is  "  in  his  mind's 
eye."  Sirrah,  stand  forth. 


A  SIXTEENTH-CENTURY  CHRISTMAS 


149 


[Gregory  recites  Act  II,  Scene  3.  Applause. 
Singing  without:  "God  Rest  Thee,  Merry 
Gentlemen." 

LADY  G.  'T  is  the  Waits  singing  from  door  to 
door.  When  they  have  done  we  will  bid  them  enter. 
[Waits  conclude  their  carol.}  Good  my  lord,  may  we 
not  call  them  in  to  share  our  festivity  ? 


SIR  T.  Marry,  will  we.  Jester,  bid  you  the  min- 
strels to  come  in  and  sing  for  us  again.  They  dis- 
course most  excellent  music. 

[Waits   enter    and   sing  again:    "The   Boar's 
Plead  Carol,"  or  some  carol  for  male  voices. 

SIR  T.  'T  is  well ;  't  is  very  well.  Perchance  the 
Waits  are  dry.  Belike  you  all  may  be,  for  so  in 
sooth  am  I.  Hugo,  bring  hither  the  loving-cup. 


150        ST.  NICHOLAS   PLAYS  AND   OPERETTAS 


Break  this  respectful  stillness.     You  have  been  staid 
too  long. 

[General  talk,  very  brisk  and  voluble.     Loving- 
cup  passed. 

SIR  T.    [Resuming  seat.]     Now,  neighbors  all,  again 
let  quiet  reign.     We  '11  have  another  Christmas  song. 

[Waits   sing    "What    Maid   was   This?"  from 
"Christmas  Carols  Old  and  New." 

JESTER.    Sir  Twistem,  methinks  that  song  was  e'en 
as  good  as  the  other  one. 

SIR  T.   No   more,  my   sweet  fool.     Thou  need'st 
not  think  to  match  thy  crossed  shilling. 

JESTER.  Ah,  good  my  lord,  think  not  I  care  for 
thy  silver:  't  was  the  winning  gave  me  joy.  But  I 
love  music ;  my  soul  longeth  for 
it.  1  suck  sweet  melancholy 
from  a  song  as  thou  suckest 
a  dull  brain  from  thy  pota- 
tions. 

SIR  T.  Sirrah,  thou  abusest 
thy  privilege.  I  care  not  for 
ale,  nor  is  my  brain  befogged. 
JESTER.  Then,  speaking  of  sil- 
ver, canst  thou  tell  me  why  a 
boxed  rat  is  like  a  man  becoming 
short  of  money  ? 

SIR  T.   Beshrew    me,    boy,    I 
cannot  answer. 
JESTER.   Because,  look  you,  it  will  be  a-gnawing  to 
get  out. 

SIR  T.   Go  to  !  annoying.     A  villainous  jest,  i'  faith. 


A  SIXTEENTH-CENTURY  CHRISTMAS  151 

JESTER.   Nuncle,  where  hadst  thou  this  fine  ale  ? 

SIB  T.  Of  Master  Davenant  at  the  Crown  Inn, 
sirrah. 

JESTER.  Of  Master  Davenant !  Then  why  is  the 
Crown  Inn  like  Jacob's  Well  ? 

SIR  T.   I  know  not  that,  either. 

JESTER.   Because,  hark  ye,  "he  brews  drink  there. 

SIR  T.  Go  to,  thou  art  too  subtle  for  me.  He 
brews  drink !  'T  is  passing  good !  [  Wipes  tears.] 
Hebrews  drink— to  be  sure.  I  wonder  not  that  the 
melancholy  Jacques  would  fain  wear  motley.  By 
the  way — that  same  sad  man  reminds  me —  [Addresses 
Waits.]  My  good  friends,  could  ye  sing  for  us  that 
fine  song  the  huntsmen  sing  in  the  forests  of  Arden, 
as  't  is  done  at  the  Curtain  Theater! 

WAITS.   Ay,  good  my  lord,  that  can  we. 

SIR  T.  We  must  have  a  little  spice  withal,  or  the 
carols  will  pall  upon  our  taste. 

[Waits  sing  "What  Shall  He  Have  who  Kills 
the  Deer  ?  "  from  the  Boosey  collection.  The 
bystanders  in  the  scene  applaud. 

LADY  G.  Lady  Beatrice,  wilt  thou  not  sing  for  us 
that  quaint  old  ballad  that  I  love  so  well  ? 

LADY  B.   If  it  is  thy  pleasure,  I  cannot  decline. 

[Lady  B.  sings  "  O  Mistress  Mine  "  or  "  Pliil- 
lida  Flouts  Me,"  from  "Pan  Pipes."  Noise 
without. 

LADY  G.   Good  my  lord,  what  noise  is  this  without  ? 

SIR  T.  It  must  e'en  be  those  merry  roisterers  who 
follow  the  Lord  of  Misrule.  Fear  them  not;  they 
are  but  somewhat  rude.  They  '11  do  no  ill.  Some 


152       ST.    NICHOLAS  PLAYS  AND   OPERETTAS 

there  are,  poor  souls,  who  know  no  way  to  show 
their  joy  but  by  making  a  monstrous  noise. 

[Enter  the  Lord  of  the  Misrule  and  followers, 
with  music,  hobby-horse,  etc.  They  dance 
and  distribute  papers,  for  which  they  re- 
ceive pennies.  A  poor  child  comes  with  a 
Christmas  box. 

LADY  G.  Ah  !  dear  little  mouse.  Bring  hither  thy 
Christmas  box.  Soon  may  7t  be  full. 

[Roisterers  exeunt. 

JESTER.  [Yawning.]  I  have  an  exposition  of  sleep 
come  upon  me,  nuncle.  Is  to-day  to-morrow  or  yes- 
terday? If  too  full  we  fill  one  day,  't  will  spill  and 
spoil  the  next.  I  fain  would  niggard  with  a  little 
rest.  Christmas  joys  are  well,  but 

A  surfeit  of  the  sweetest  things 

The  deepest  loathing  to  the  stomach  brings. 

SIR  T.  Thou  art  not  altogether  a  fool.  The  time 
draws  near,  "  so  I  regreet  the  daintiest  last  to  make 
the  end  most  sweet."  Dear  heart,  what  shall  be  the 
final  act  in  this  our  Yule-tide  play  ? 

LADY  G.  Glad  are  our  hearts.  Peace,  plenty,  and 
joy  smile  upon  all.  Let  our  last  act  on  the  birthday 
of  our  Lord  be  the  union  of  our  voices  in  praising 
his  name.  Let  us  sing  "  Gloria  in  Excelsis." 

[All  sing. 

NOTE.  —Almost  all  the  songs  named  in  the  text  can  be  ob- 
tained by  ordering  through  music-dealers,  and  most  of  the  waits 
and  carols  are  to  be  found  in  the  "English  Melodies"  and 
"Sacred  Series"  of  the  collection  called  the  " Choralist." 
Of  course,  when  necessary,  other  old  songs  and  carols  may  be 
substituted  at  will  for  those  mentioned  here. 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S 

(A  Christmas  Play  for  School  or  Parlor  Entertainment) 
BY  S.  J.  D. 

CHARACTERS 

LITTLE  Miss  MUFFET.  JILL. 

LITTLE  JACK  HORNER.  MISTRESS  MARY. 

LITTLE  BOY  BLUE.  SIMPLE  SIMON. 

LITTLE  BO-PEEP.  OLD  MOTHER  HUBBARD. 

JACK.  SANTA  GLAUS. 

SCENE.— A  room  at  Mother  Hubbard's;  two  doors,  one  sup- 
posed to  open  to  the  outer  air,  the  other  to  lead  into  another 
part  of  the  house  ;  also  a  cupboard  with  closed  door. 

Little  Miss  Muffet  and  Jack  Horner  disclosed,  seated,  as  the 
curtain  rises. 

Miss  MUFFET.  Can  you  tell  me,  Jack  Horner,  why 
so  many  of  us  have  been  asked  to  come  here  to  Old 
Mother  Hubbard's  to-night  ?  What  does  she  want  of 
us  ?  What  is  she  going  to  have  us  do  ? 

JACK  HORNER.  Do  f  Why,  I  thought  it  was  a  sort 
of  a  party,  perhaps— forfeits,  and  dancing,  and  stage- 
coach, and  so  on.  And  afterward  — well,  I  have  been 
wondering  whether  we  shall  have  ice-cream  and  cake, 
or  nuts  and  raisins  and  apples.  [Rising  and  walking 

153 


154       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

about  discontentedly.}  I  declare,  it  's  a  shame,  Miss 
Muffet.  Do  you  know  I  am  not  to  have  any  Christ- 
mas pie  this  year  ? 

Miss  MUFFET.   Why  not  ? 

JACK  HORNEB.  Oh,  well,  you  know  that  old  trick 
of  mine  about  the  plums ;  my  folks  thought  it  bad 
manners,  and  so  I  am  to  go  without  my  pie.  [Sits 
down  again  moodily.]  And  what  's  Jack  Horner 
without  a  Christmas  pie  ? 

Miss  MUFFET.  Well,!  have  n't  any  curds  or  whey, 
either;  but  it  was  a  very  old-fashioned  dish,  and 
doing  without  it  does  away  with  the  spider,  so  I  am 
very  well  pleased.  Boys  are  so  queer— always  hungry, 
always  thinking  of  something  to  eat ! 

JACK  HORNER.  And  girls  are  so  very  queer— afraid 
of  spiders,  shrieking  at  a  mouse !  When  a  fellow  is 
asked  out  of  an  evening,  I  don't  think  it  at  all  queer 
he  should  expect  a  little  something  in  the  way  of 
refreshments. 

Miss  MUFFET.  But  this  is  n't  to  be  a  party.  We 
were  asked  here  to  help  about  something.  And  then, 
to  expect  ice-cream  at  Mother  Hubbard's !  Why, 
she  can't.  It  is  n't  nice  to  speak  of  it,  but  you  know 
that  pitiful  story  about  her  dog. 

JACK  HORNER.  Oh,  well,  there  are  better  times 
now.  Yes,  I  know  the  old  story.  And  that  's  the 
very  cupboard  over  there.  [Rising,  ivith  curiosity.] 
I  've  a  good  mind  to  just  go  peep  into  that  cupboard 
and  see  if  it  really  is  bare. 

Miss  MUFFET.  [Speaking  as  he  tiptoes  across  the 
room.]  What  sort  of  manners  do  you  call  it,  Jack 
Horner,  to  go  prying  into  other  folks'  cupboaa^s  ? 


CHRISTMAS  EVE   AT   MOTHER  HUBBARD'S    155 

[As  Jack  lays  his  hand  on  the  cupboard  door  a 
horn  is  heard  without,  and  he  jumps  back 
guiltily. 

Miss  MUFPET.  Who  's  afraid  now,  I  7d  like  to 
know? 

JACK  HORNER.   Who  can  it  be  ? 

[The  horn  sounds  again,  and  Little  Boy  Blue 
enters. 

BOY  BLUE.  Hallo  !  here  are  two  of  you  before  me 
—old  friends,  of  course;  but  I  have  n't  met  any 
Mother  Goose  people  in  so  long  a  time  that  I  'm 
afraid  I  sha'n't  know  you  all.  Now,  who  are  you, 
ma'am,  if  I  may  be  allowed  to  ask  ? 

Miss  MUFFET.   /  am  Little  Miss  Muffet. 

BOY  BLUE.  Oh,  yes— who  sat  on  a  tuffet.  Well, 
then,  now  's  my  chance  to  ask  you  about  something 
that  has  always  puzzled  me  tremendously.  What  is 
a  tuff et  ? 

Miss  MUFFET.  [Jumping  up  from  her  stool  and  pla- 
cing it  before  him.]  That  is  a  tuffet ! 

BOY  BLUE.  That  ?  Why,  that '  s  nothing  but  a 
little  footstool !  What  makes  them  call  it  a  tuffet  ? 

Miss  MUFFET.  Because  "tuffet"  rhymes  with 
"  Muffet,"  stupid,  and  "  footstool "  does  n't ! 

JACK  HORNER.  No,  nor  hassock,  nor  ottoman.  To 
be  puzzled  over  an  easy  thing  like  that !  Where  are 
your  wits,  Boy  Blue  ?  Are  they  under  the  haymow, 
fast  asleep  ? 

BOY  BLUE.  [Good-naturedly.]  Well,  Jack,  my  boy, 
you  will  be  pretending  next  that  you  are  always  sit- 
ting about  in  a  corner  so  as  to  make  yourself  rhyme 


156       ST.   NICHOLAS   PLAYS  AND   OPERETTAS 

with  "  Horner."  Now,  is  n't  it  because  you  are  just  a 
little  bit  lazy,  and  a  little  bit  afraid  of  the  weather? 

JACK  HORNER,  [Jumping  up  testily.}  See  here,  Boy 
Blue,  I  don't  like  that ! 

Miss  MUFFET.  Oh,  dear!  if  you  boys  go  to  quar- 
reling and  fussing,  it  will  spoil  our  whole  evening. 

[Bo-peep  knocks  at  the  door  with  her  crook, 
and  then  enters. 

BOY  BLUE.  [Advancing  with  a  smile.]  I  called  for 
you,  Bo-peep,  and  you  had  already  gone. 

BO-PEEP.  Yes ;  I  stopped  for  Jill,  but  she  and  Jack 
could  n't  start  for  a  little  while  yet,  and  I  came  on 
alone. 

JACK  HORNER.  Won't  you  take  my  chair,  Miss  Bo- 
peep?  Was  it  snowing  when  you  came  in? 

BO-PEEP.  Oh,  ifc  is  glorious  winter  weather.  Hew 
I  do  love  the  frost  and  cold !  It  makes  me  feel 
ready  for  anything  !  Where  7s  Mother  Hubbard  ? 

Miss  MUFFET.  She  was  called  away  just  after  Jack 
Homeland  I  came,  and  she  has  n't  been  in  the  room 
since.  Why  do  you  carry  your  crook  in  winter,  Bo- 
peep? 

BO-PEEP.  I  like  to  have  it  when  I  'm  skating ;  and 
then,  it 's  pleasant  to  carry  it — it  reminds  me  of  the 
summer-time. 

JACK  HORNER.  Then  you  like  the  summer  better 
than  winter?  So  do  I. 

BO-PEEP.  Well,  I  like  the  autumn  better  still ;  and 
springtime— that 's  the  best  of  all. 

BOY  BLUE.  You  and  I  love  all  the  seasons,  Bo-peep, 
because  we  live  so  much  outdoors.  We  know  them 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S    157 

all  so  well,  and  all  their  good  times.  As  I  was  com- 
ing along  through  the  snow  just  now,  I  found  myself 
humming  that  "May  Song"  of  yours. 

Miss  MUFFET.  Oh,  Bo-peep,  sing  it  for  us,  won't 
you? 

BO-PEEP.   Why,  I  will,  if  Boy  Blue  does  his  part,  too. 

BOY  BLUE.   All  right.     You  begin. 

MAY  SONG  1 
BO-PEEP. 

Light  is  the  heart  of  the  young  country  lass 

When  May  smiles  "  good  day  "  through  the  wicket ; 
Blossoms  a- bloom  in  the  tender  green  grass, 

Birds  all  a-tune  in  the  thicket. 
Up  and  away  at  the  first  ray  of  morn, 

Out  where  the  sunbeams  are  playing ! 
Little  Boy  Blue,  come  blow  your  horn, 

For  we  would  be  early  a-Maying— 
(Horn]  Tra-la-la,  tra-la-la,  tra-la-la,  tra-la-la ! 

For  we  would  be  early  a-Maying— 
(Horn)  Tra-la-la,  tra-la-la,  tra-la-la-la ! 

BOY  BLUE. 
Gay  is  the  lot  of  the  young  country  lad 

When  decked  is  the  May-pole  for  dancing, 
Fiddlers  all  there  and  a-fiddling  like  mad, 

Every  one  skipping  and  prancing. 
Hie !  what  a  feast  we  shall  have  on  the  green, 

Candy  and  cake  and  no  paying. 

BO-PEEP. 
Oh,  me,  one  would  be  like  a  king  or  a  queen 

If  one  could  be  always  a-Maying ! 

Tra-la-la,  etc. 
1  For  music,  see    "St.  Nicholas  Songs,"  page  172. 


158       ST.   NICHOLAS  PLAYS  AND    OPERETTAS 

But  lassies  and  laddies  must  work,  it  is  true ; 

All  is  not  pleasure  and  funning. 
There  's  baking  and  churning 

BOY  BLUE.  and  plowing  to  do, 

BO-PEEP. 

And  errands  to  keep  one  a-running. 

BOY  BLUE. 
Cows  to  be  tended  and  kept  from  the  corn ; 

BO-PEEP. 

Sheep  that  forever  are  straying : 
So  at  sunrise,  Boy  Blue,  come  blow  us  your  horn ; 

We  '11  to  work,  and  have  time  left  for  playing— 
(Horn)    Tra-la-la,  tra-la-la,  tra-la-la,  tra-la-la  ! 

There  '11  be  plenty  of  time  left  for  playing — 
(Horn)   Tra-la-la,  tra-la-la,  tra-la-la-la ! 

[At  the  close  of  the  song  a  heavy  fall  and  a 
commotion  are  heard  outside. 

Miss  MUFFET.  [Running  to  tlie  door.]  What  can  be 
the  matter? 

[Jack   and   Jill   enter,   the    former  hobbling, 
and  holding  his  head  with  a  wry  face. 

BO-PEEP.  Why,  it  7s  Jack,  and  you  too,  Jill! 
How  's  this  ?  Have  you  had  another  tumble  ? 

JILL.  Oh,  Jack  had  to  go  and  fall  on  a  little  slip- 
pery place  near  the  door.  Trust  Jack  for  finding 
the  slippery  places ! 

JACK.  Well,  Mother  Hubbard  asked  me  to  drop  in 
this  evening,  and  I  was  trying  to  oblige  her.  Only  I 
dropped  too  soon.  I  was  n't  quite  in.  Whew ! 
did  n't  I  give  my  head  a  crack,  though ! 

JILL.   Jack  wants  to  join  a  baseball  nine,  but  I 


CHRISTMAS  EVE  AT   MOTHER  HUBBARD'S     159 

tell  him  he  's  too  good  a  tumbler  to  make  a  good 
pitcher. 

JACK  HORNER.  [Trying  to  look  important.]  Pooh, 
pooh  !  Baseball,  indeed !  That  's  out  of  date,  and 
lawn-tennis,  too.  Golf  's  your  game !  Golf  7s  the 
game  for  me ! 

BOY  BLUE.  [Patting  Mm  on  the  back.]  There,  there, 
sonny !  you  '11  grow  up  to  them  all.  Croquet  and 
ring-toss  are  better  for  you,  at  your  age ! 

JACK.  Well,  Jill  will  have  her  joke.  And  it  's 
better  to  laugh  than  cry,  say  I. 

JILL.  Sing  them  that  song  you  composed  about  all 
your  tumbles.  It  will  make  you  forget  your  head- 
ache. 

JACK.  Oh,  it 's  too  long.  It  has  forty-eight  verses, 
each  about  a  separate  accident,  and  then  three  or 
four  in  which  I  give  a  sort  of  summing  up  and  a 
moral. 

BOY  BLUE.  [Hastily.]  Just  give  us  the  summing 
up.  Never  mind  about  the  other  forty-eight  verses. 

JACK'S  SONG  l 

If  I  Jm  walking  on  a  level 

Where  you  'd  think  that  I  might  revel 
In  the  comfort  and  the  safety  of  the  way, 

Then  I  7m  bound  to  stub  my  toe, 

And  the  first  thing  that  you  know, 
Jack  is  on  his  back  again,  alackaday ! 

1  For  music,  see  "St.  Nicholas  Songs,"  page  128,  "There  was 
a  little  girl,"  etc.  Use  first  verse  of  music  for  first  and  second 
verses  of  song,  and  last  verse  of  music  for  third  verse  of  song 


160       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Oh,  I  've  broken  both  my  shoulders, 

And  the  very  smallest  boulders 
Are  enough  to  twist  my  ankles  all  awry ; 

Where  the  others  dance  and  skip 

I  am  always  sure  to  trip, 
Dislocate  my  collar-bone  and  bruise  my  thigh ! 

But  it  does  n't  so  much  matter 

Just  how  many  bones  I  shatter, 
Nor  how  oft  the  nickname  "  Buttertoes  "  1 7ve  heard ; 

For  our  Jill  says  (bless  her  soul !) 

That  I  keep  my  temper  whole, 
And  I  never  twist  the  truth  or  break  my  word ! 

BO-PEEP.  Well,  Jack,  I  like  that  song.  It  's  just 
fine! 

BOY  BLUE.   So  say  I ! 

JACK.  [Rubbing  his  head  ruefully.]  Singing  it 
did  n't  improve  my  head  any. 

Miss  MUFFET.  Poor  boy !  Let  me  take  you  to 
find  Mother  Hubbard,  and  she  will  have  you  lie 
down  a  little  while,  and  give  Jill  something  to  bathe 
the  sore  spot. 

[The  three  go  out,  leaving  inner  door  open.  A 
gentle  knock,  and  Mistress  Mary  enters  at 
other  door.  Bo-peep  is  facing  the  door, 
and  the  newcomer  holds  her  hands  out 
toward  her  with  a  smile.  Bo-peep  takes 
them. 

BO-PEEP.  I  feel  as  if  you  must  be  an  old  and  dear 
friend,  and  yet  I  cannot  tell  your  name. 

MISTRESS  MARY.  Why,  I  am  Mistress  Mary  the 
kinder gartner.  And  if  you  would  like  to  know  how 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S     161 

my  garden  grows,  I  shall  be  delighted  to  tell  you  all 
about  it. 

JACK  HORNER.  [Surprised.]  You  Mistress  Mary? 
And  you  look  so  pleasant  and  so  cheery !  I  thought 
they  used  to  say  you  were— well,  sort  of— oh,  you 
know— 

BOY  BLUE.  Contrary?  Why,  Jack,  my  fine  fel- 
low, where  are  your  wits?  That  is  just  to  rhyme 
with  "Mary."  " Contrary "  rhymes  with  Mary,  and 
"pleasant"  does  n't,  nor  "charming." 

MISTRESS  MARY.  No ;  they  really  thought  me  con- 
trary, and  very,  very  queer—  "  cranky,"  I  think  they 
would  call  it  nowadays.  But  that  was  only  because 
they  did  n't  understand  the  Frobel  system.  They 
were-n't  familiar  with  the  "gifts  and  occupations," 
and  they  could  n't  see  what  silver  bells  or  cockle- 
shells or  balls  or  cubes  or  cylinders  had  to  do  with 
the  training  of  the  little  maids  in  my  kindergarten. 
By  the  way,  they  did  n't  stand  in  a  row  at  all,  my 
little  maids,  but  in  a  circle,  as  they  do  to-day. 

BOY  BLUE.  But  if  I  may  make  bold  to  ask,  what 
have  silver  bells  and  cockle-shells  to  do  with  schooling  ? 

MISTRESS  MARY.  I  can  tell  you  best  in  a  little 
song  we  have  made  about  them,  if  you  would  like  to 
have  me  sing  it  to  you. 

BO-PEEP.   Please  do.     That  will  be  delightful. 

MISTRESS  MARY'S  SONG  x 

Now  list  while  I  tell 
Of  the  small  silver  bell 

1  For  music,   see    "St.    Nicholas   Songs,"   page   110,    "The 
Singaway  Bird." 
11 


162       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

That  rings  in  the  year's  early  morning ; 

The  first  flower  we  see, 

It 's  a-quiver  with  glee 
As  it  gives  to  the  others  their  warning : 

"  Ting- ting,  it  is  spring,  ting-a-ling ! 

Ting-ting,  ting-a-ling,  it  is  spring !  " 
Up  come  the  flowers  at  the  jubilant  knell 
Of  this  small  rising-bell—silver  bell. 

And  this  fair  cockle-shell, 

Once  so  happy  to  dwell 
At  the  edge  of  the  murmuring  billow, 

It  will  sound  at  your  ear, 

In  a  voice  that  you  hear 
As  through  dreams  on  a  wave-cradled  pillow : 

"  List !  list !  the  sea  murmuring. 

List !  list !  the  sea  whispering." 
It  has  tales  that  are  wondrous  to  tell 
In  its  dream-talk,  this  fair  cockle-shell. 

So  the  bell  from  the  lea 

And  the  shell  from  the  sea 
Hold  marvels  we  fain  would  be  knowing; 

And  they  tell  each  in  turn 

What 't  is  lovely  to  learn, 
Little  maids,  in  my  child  garden  growing. 

"  Ting-ting !  hear  me  ring— ting-a-ling !  " 

"  List,  list,  to  the  sea  whispering !  " 
Whisper,  fair  shell ;  ring  for  us,  silver  bell  ; 
For  your  message  is  fair— fair  to  hear,  fair  to  tell ! 

BOY  BLUE.  I  think  I  would  n't  mind  belonging  to 
your  school  myself. 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S    163 

BO-PEEP.  I  would  join  it  in  a  minute  if  I  was  n't 
so  big. 

JACK  HORNER.  Here  comes  Mother  Hubbard,  and 
who  's  that  with  her  ? 

BOY  BLUE.  Why,  it  's  Simple  Simon  !  There  's  a 
scholar  for  you,  Mistress  Mary !  Even  you  could 
not  drum  any  wisdom  into  him. 

MISTRESS  MARY.  If  I  had  had  him  young  enough,  I 
could  have  done  it. 

[Simon  enters  shuffling  and  sheepishly. 

MISTRESS  MARY.   Good  evening,  Simon. 

BO-PEEP.  Was  n't  Mother  Hubbard  with  you  in 
the  passage  ? 

SIMPLE  SIMON  She  was— she  was— she  assuredly  was. 
But  just  at  the  door  here  she  heard  the  telusphone-bell 
ring,  and  so  she  ran  away  again — ran — away  again. 

JACK  HORNER.  And  how  did  you  get  into  the 
house  without  our  seeing  you  ? 

SIMPLE  SIMON.  I  don't  know.  I  must  have  mistook 
the  back  door  for  the  front.  I  reckon— 'pears  to  me— 

BOY  BLUE.  /  believe  you  saw  some  pies  through 
the  kitchen  window,  and  just  went  for  them. 

JACK  HORNER.  Pies?  Pies?  Say,  I  want  one! 
Has  Simon  got  them  ? 

SIMPLE  SIMON.   Indeed,  I  have  n't  any. 

BOY  BLUE.   So  we  've  heard  before. 

MISTRESS  MARY.  Now,  boys,  don't  tease  Simon; 
and,  Jack,  don't  be  so  greedy.  What  I  want  to  ask 
Simon  is  this :  Has  Mother  Hubbard  told  you  what 
we  are  all  to  do  for  her  here  to-night  ? 

SIMPLE  SIMON.  No,  she  has  not— assuredly  not. 
She  said  to  me :  "  Simon,  you  Ve  come  in  the  wrong 


164       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

door."  And  I  says :  "  Yes,  ma'am ;  thank  you 
kindly,  ma'am."  And  she  says :  "  Come,  Simon ;  1 '11 
show  you  where  the  others  are.  I  'm  ready  to  go  to 
them  now,  poor  things ! "  And  then  in  the  hall  she 
heard  the  telusphone-bell,  and  she  said :  "  Oh,  deary 
me !  Get  them  to  sing  another  song,  Simon.  You 
sing  a  song  with  them,  Simon ;  and  I  '11  be  there  in  a 
minute— in  a  minute." 

ALL.   A  song !     Simon  will  sing  a  song ! 

BOY  BLUE.   Yes ;  and  we  '11  join  in. 

SIMON'S  SONG 

If  I  had  a  penny,— 
A  single  little  penny,— 

I  would  go  at  once  and  buy  a  pie— buy  a  pie. 
But  I  've  just  got  a  nickel— 

OTHERS.   [Jestingly.] 

Well,  you  are  in  a  pickle ! 

SIMON.   [Seriously.] 
Yes,  a  nickel 's  not  the  price  of  a  pie. 

OTHERS. 

From  your  nickel  take  a  penny, 
And  buy  one  pie  or  many. 

SIMON. 
Oh,  no,  no  !  't  is  a  sum  too  hard  and  high ! 

I  never  learned  subtraction, 

And  before  I  'd  solve  a  fraction 
I  'd  go  for  weeks  without  a  taste  of  pie— oh,  my ! 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S    165 

OTHERS.    [Laughing.] 

Ho,  ho  !  but  this  is  funny ; 
You  '11  never  spend  your  money 
Unless  you  have  a  piece  that 's  just  the  price ! 

SIMON.    [Triumphantly.] 

Yes,  I  've  a  plan,  my  sages : 
I  '11  ask  for  penny  wages  ! 
And  that  '11  be  so  handy  and  so  nice— so  very  nice! 

[Mother  Hubbard  enters  at  last,  followed  by 
Jack,  Jill,  and  Little  Miss  Muffet. 

MOTHER  HUBBARD.  Well,  boys  and  girls,  how  do 
you  do?  It  is  just  too  bad  I  have  had  to  keep  you 
waiting  so  long.  But  I  heard  you  singing,  and 
knew  you  were  having  a  good  time ;  and  when  I 
heard  Mistress  Mary's  sweet  voice  I  felt  quite  easy, 
for  I  was  sure  she  would  n't  let  you  get  into  any 
mischief. 

BOY  BLUE.  We  have  been  amusing  ourselves  very 
well,  Mother  Hubbard. 

BO-PEEP.  Yes ;  but  we  are  dying  to  know  why  you 
have  asked  us  all  to  meet  here  to-night. 

MOTHER  HUBBARD.  Can't  any  of  you  guess  I  Jack 
Horner,  now,  he  's  a  keen  lad.  What  does  he  think  ? 

JACK  HORNER.  [Dubiously.]  It  is  n't— it  could  n't 
— it  has  n't  anything  to  do  with  can — candy,  has  it? 

MOTHER  HUBBARD.  Oh,  ho  !  So  that 's  the  way  your 
mind  runs,  is  it  ?  [She  looks  at  him  sharply,  and  then 
at  the  cupboard,  toward  which  she  goes  a  step  or  two.] 
There  has  n't  any  one  been  peeping  into  my  cup- 
board, has  there  ? 


166        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

JACK  HORNER.  [Slipping  behind  Mistress  Mary.}  I 
-I  have  n't !  It 's  locked  ! 

MISTRESS  MARY.  [Laughing  and  patting  Jacks 
head.]  You  know  we  would  n't  expect  to  find  any- 
thing there,  Mother  Hubbard ! 

MOTHER  HUBBARD.  You  would  n't,  eh?  Well, 
there  's  something  better  than  bones  in  that  closet 
to-night.  Children,  what  night  is  this  ? 

[They  look  at  each  other. 

Miss  MUFFET.   Christmas  Eve  ! 
ALL.    [Echoing  Miss  Muffet.]     Christmas  Eve ! 
MOTHER  HUBBARD.   And  who  is  it  comes  visiting 
about  on  Christmas  Eve  ? 

[AlMook  at  each  other  again. 

BOY  BLUE.   Santa  Claus ! 

ALL.    [Echoing  Boy  Blue.]     Santa  Claus  ! 

MOTHER  HUBBARD.  Exactly  so.  And  now  let  me 
tell  you  he  will  be  here,  in  this  house,  in  this  room, 
in  a  very  few  minutes.  (Sensation.}  There  has  been 
some  delay,  and  I  have  been  telephoning  and  tele- 
graphing to  him  all  the  evening.  At  six  o'clock  he 
left  the  North  Pole,  at  seven  he  was  rushing  along 
through  Canada,  at  eight  he  had  visited  all  the 
northern  United  States,  and  by  this  time  he  is  com- 
ing straight  for  this  house. 

BOY  BLUE.  But  I  thought  he  did  n't  let  any  one 
see  him  on  his  trips. 

MOTHER  HUBBARD.  No,  not  ordinary  people,  my 
boy;  but  Mother  Goose  people  are  not  ordinary 
people;  and,  besides,  you  have  all  been  asked  to 
come  here  to  help  him. 


CHRISTMAS  EVE  AT  MOTHER  HUBBARD'S  167 

BO-PEEP.  To  help  him  ?  Help  Santa  Claus  ?  How 
could  we  help  Santa  Claus  ? 

MOTHER  HUBBARD.  That  he  will  tell  you  himself 
when  he  comes.  Hark  !  did  I  hear  bells  ? 

MISTRESS  MARY.  I  hear  nothing  yet.  Let  us  sing 
a  song  of  welcome  to  help  bring  him. 

ALL.   [Sing.] 

Santa  Claus  is  coming ! 

Joyful  is  the  cry. 
Spread  by  happy  voices, 

How  the  tidings  fly  ! 
All  the  air  is  humming 
With  the  glad  refrain, 
Santa  Claus  is  coming ! 

Shout  it  once  again  ! 


[A  faint  sound  of  sleigh-bells  grows  nearer 
and  nearer.  A  voice  is  heard  without, 
above  the  bells :  "  Whoa,  there,  Donner ! 
Hold  up,  Blitzen  !  Whoa,  Dancer  !  Whoa, 
Prancer !  Here  we  are ! "  Santa  Claus 
enters. 


SANTA  CLAUS.  Yes,  here  we  are  at  old  Mother 
Hubbard's ;  and  here  are  all  the  lads  and  lassies 
come  to  meet  us  ! 

MISTRESS  MARY.  And  to  help  you,  Santa  Claus. 
Mother  Hubbard  says  we  can  help  you. 

SANTA  CLAUS.  And  so  you  can— so  you  can.  Bless 
your  sweet  face  !  Now,  here  's  a  likely  lad.  [Laying 
hold  of  Jack,  ivho  has  kept  close  to  Mistress  Mary.] 


168        ST.    NICHOLAS  PLAYS  AND   OPERETTAS 

He  can  help,  I  know.     And  what  would  you  like  for 
Christmas,  my  fine  fellow  ? 

JACK  HORNER.  A  large  Christmas  pie,  sir,  very 
full  of  plums. 

SANTA  CLAUS.  Ho,  hoJ  A  modest  wish,  surely, 
for  one  of  your  size !  But,  boys  and  girls,  your 
presents  are  to  come  last.  You  shall  have  them  all 
in  good  time,  but  first  comes  what  you  are  to  do  for 
me.  And  now  I  want  you  all  to  come  near  and  listen 
very  seriously,  for  I  am  going  to  tell  you  a  sad,  sad 
thing. 

[All  gather  about  him  with  breathless  attention. 
Santa  Claus  surveys  them  with  a  mournful 
shake  of  the  head. 

SANTA  CLAUS.  [Solemnly,  bending  toward  them.] 
Santa  Claus  is  growing  old  ! 

[They  start  back,  surprised,  and  look  at  each 
other  doubtfully  a  moment. 

BOY  BLUE.  [Bluntly.]  Why,  Santa  Claus,  we 
thought  you  always  were  old. 

SANTA  CLAUS.  [Feigning  indignation.]  Hey!  what 
d'  ye  say  ?  Always  old,  indeed !  Who  would  have 
thought  of  such  impertinence  ! 

BO-PEEP.  [Defending  Boy  Blue.}  I  am  sure  your 
hair  and  beard  have  always  been  as  white  as  they  are 
now. 

SANTA  CLAUS.  And  what  of  that?  My  hair  turned 
white  when  I  was  a  mere  stripling,  just  with  the  care 
and  brain-fag  of  inventing  new  Christmas  toys  every 
year  for  all  you  boys  and  girls.  But  lately  I  have 
felt  I  am  really  growing  old,  because— now,  don't  go 


CHRISTMAS  EVE  AT  MOTHER   HUBBARD'S     169 

telling  this  to  everybody— because  I  am  not  so  spry 
as  I  used  to  be.  It  takes  me  a  few  minutes  longer 
every  year  to  make  my  rounds— which  is  most  morti- 
fying to  my  pride. 

BOY  BLUE.  But  there  are  more  children  and 
chimneys  than  there  used  to  be,  Santa  Glaus. 

BO-PEEP.  And  so  many  more  toys  for  you  to 
carry. 

SANTA  GLAUS.  [Delighted.]  Why,  bless  your  hearts, 
so  there  are  !  The  lad  is  a  well-spoken  lad,  after  all. 
He  '11  not  be  caught  napping  under  a  haymow  or 
anywhere  else  again,  I  warrant  you.  And  this  little 
lady  does  n't  go  wool-gathering  nowadays,  I  '11  be 
bound.  Yes,  there  are  more  chimneys,  and  a  heavier 
pack  means  a  stronger  back;  and  both  my  back  and 
legs  get  a  little  shaky  now  at  Christmas.  Last  year 
it  took  me  the  whole  of  January,  tucked  up  in  bed, 
to  get  over  my  jaunt  on  Christmas  Eve.  And  so, 
boys  and  girls,  I  have  sent  for  you  this  year  to  help 
me  do  my  work. 

ALL.   How?     How? 

BOY  BLUE.    Won't  it  be  fun  1    Hurrah  ! 

BO-PEEP.  [Hurriedly.]  What  shall  we  do  first? 
Where  shall  we  begin  ? 

SANTA  GLAUS.  Softly,  softly.  No  hurry,  no  ex- 
citement !  I  have  been  all  through  the  North,  visited 
the  Eskimos  and  the  Frozen  Northites — 

JACK.  Oh,  Santa  Glaus,  do  tell  us !  Who  lives  at 
the  North  Pole,  and  how  do  you  get  there?  There 
are  so  many  people  who  want  to  know ! 

SANTA  GLAUS.  Oh,  yes;  I  know  all  about  your 
Pearys  and  your  Nansens  and  your  Andrees,  and  all 


170        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

who  have  tried  to  find  the  Pole  since  the  days  Kane 
was  not  able.  Brave  men  they,  but  deluded — de- 
luded. Now,  you  can  just  tell  any  one  who  would 
really  like  to  know  [the  boys  have  drawn  near,  atten- 
tively] that  I  live  at  the  North  Pole,  and  I  never  gossip 
about  my  neighbors!  And  as  for  the  way  to  get  there, 
the  only  way  to  be  sure  of  reaching  the  Pole  is  [close 
attention  again  from  the  boys]  to  go  behind  a  team  of 
reindeer  just  like  mine ;  and  mine  are  not  for  sale ! 
[Crestfallen  looks,  while  Santa  Glaus  wags  his  head  tri- 
umphantly.} Now,  what  I  was  about  to  say  was  this : 
you  boys  and  girls  are  to  go  with  me  the  rest  of  the 
way  to-night,  and  help  me  distribute  my  pack— be  so 
many  feet  and  fingers  for  me. 

ALL.   What  fun!     Hurrah! 

JACK.   How  will  you  take  us  all  ? 

SANTA  GLAUS.  In  my  sleigh.  Where  there  's  room 
for  a  million  or  more  of  Christmas  gifts  a  few  boys 
and  girls  won't  count. 

BOY  BLUE.    Hurrah  !     Where  shall  we  go  first  ? 

SANTA  GLAUS.  We  must  finish  the  United  States. 
There  are  all  the  coast  towns  to  do,  and  a  perfect 
grist  of  Sunday-schools  in  every  one  of  them.  We  '11 
do  those  first.  And  I  have  laid  up  a  special  little 
store  of  presents  for  them  here  at  Mother  Hubbard's. 
Now,  Mother  Hubbard,  if  you  have  the  key  we  will 
take  a  look  into  that  cupboard  of  yours. 

MOTHER  HUBBARD.  [Advancing  proudly  and  smil- 
ingly,  key  in  hand.}  Yes,  the  presents  are  in  my  cup- 
board, children.  It  is  bare  no,  longer.  [Throws  open 
the  door,  and  shoivs  the  shelves  filled  with  parcels.] 
What  do  you  think  of  that  ? 


CHRISTMAS  EVE  AT   MOTHER   HUBBARD'S     171 

SANTA  GLAUS.  Yes,  what  do  you  say  to  that  ?  I  say 
it  's  worth  a  song. 

JACK  AND  JILL.   A  song  !     A  song  ! 

MISTRESS  MARY.   A  song  for  Mother  Hubbard ! 

Miss  MUFFET.    Let  me  join  in  the  chorus. 

SIMPLE  SIMON.  We  '11  all  sing—all  of  it— sharps, 
flats,  accidentals,  and  all. 

JACK  HORNER.    Sing  it  to  my  tune. 

BO-PEEP.  [Impatiently.]  But  have  we  time— have 
we  time,  Santa  Glaus  ? 

SANTA  GLAUS.  Time!  Let  me  tell  you,  my  girl, 
when  Santa  Glaus  stops  on  Christmas  Eve,  and  just 
so  long  as  he  stops,  all  the  clocks  stop,  too.  They 
would  n't  dare  get  ahead  of  him  that  way. 

BOY  BLUE.  All  right,  then.  A  song  for  Mother 
Hubbard,  to  Jack  Horner's  tune  ! 

Old  Mother  Hubbard 

Goes  to  the  cupboard 
To  look  for  her  Christmas  store. 

She  puts  in  the  key 

As  proud  as  can  be, 
And  cries,  "  It  is  empty  no  more  !  " 

SANTA  GLAUS.   Now  all  go  and  get  your  loads. 

[They  crowd  about  the  cupboard,  and  Mother 
Hubbard  fills  their  arms  with  packages, 
books,  boxes  of  candy,  etc. 

MISTRESS  MARY.  [During  this  distribution.]  An- 
other verse ! 


172       ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

Old  Mother  Hubbard 

Shows  us  the  cupboard, 
Full  from  the  bottom  to  top. 

She  loads  all  the  boys 

And  girls  with  her  toys 
Till  they  cry,  "  Mother  Hubbard,  pray  stop  !  " 

SANTA  GLAUS.  All  out?  All  loaded?  All  ready? 
Then  let  us  make  for  the  sleigh.  Form  a  line, 
youngsters.  Sha'n't  we  have  a  jolly  time !  All 
down  the  coast— over  to  Europe— Asia— Isia—-Osia 
—  and  Africa  !  What  a  night  of  it ! 

MOTHER  HUBBARD.     And  where  first  ? 

SANTA  GLAUS.  First  to  [Here  may  be  inserted  a 
reference  to  the  school  or  other  company  before  ivhich  the 
play  is  presented.}  Some  of  this  special  lot  of  bundles 
is  for  them.  Forward,  march  ! 

MISTRESS  MARY.  One  minute,  boys !  First  a  song 
for  Santa ! 

BOY  BLUE.   Santa  Glaus  forever ! 

JACK  HORNER.   Hurrah ! 

Santa  Glaus  forever, 

Hurrah,  hurrah,  hurrah ! 
Friend  of  the  children, 

Hurrah,  hurrah,  hurrah ! 

[Santa  Clans  and  his  assistants  descend  among 
the  audience  and  distribute  the  gifts  pre- 
pared for  them. 


A  LAWN  DANCE  FOR  LITTLE  PEOPLE 
BY  L.  A.  BRADBURY 

Four  boys  dance  in,  one  behind  another,  their  hands  on  their 
hips,  and  go  to  places  at  one  side,  while  a  group  of  singers  sing 
as  follows : 

(Air,  "Sur  le  Pont  d' Avignon.") 


the        fun         just        be    -    gun,       They      are 


EEEJ 


danc  -  ing,  they    are    danc-ing!    See    the    fun    just    be  - 


174        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

£t 


(AZZ  the  bays  bow  to  the  company.) 


Gen    -    tie    -    men         all          do          like  this,- 

/7S 


-t 


(Boys  bow  to  each  other,  tivo  and  two.) 


And       then        they         do          like 


this. 


[The  boys  balance,  or  mark  time,  in  their  places, 
while  four  girls  dance  in  and  take  places 
opposite  the  boys,  at  some  distance;  the 
singers  singing  as  follows,  to  the  same  music 
as  was  sung  for  the  entrance  of  the  boys  : 


A  LAWN  DANCE  FOE  LITTLE  PEOPLE        175 

In  the  shade,  in  the  sun, 

They  are  dancing,  they  are  dancing ! 
In  the  shade,  in  the  sun, 

They  are  dancing,  every  one ! 

All  the  ladies  do  like  this. 

[The  girls  curtsy  to  the  company,  and  the  boys 
bow  again. 

And  then  they  do  like  this. 

[Girls  curtsy  to  each  other,  two  and  two  ;  boys 
bow  in  the  same  way.  During  the  singing  of 
the  next  stanza  the  boys  take  hands,  the  girls 
do  the  same,  and  the  two  lines  dance  toward 
each  other,  meeting  in  the  middle,  where 
they  take  partners  and  form  a  square  (quad- 
rille). 

Oh,  what  joy  !     Oh,  what  fun  ! 

They  are  dancing,  they  are  dancing ! 
Oh,  what  joy  !     Oh,  what  fun  ! 

They  are  dancing,  every  one  ! 

All  the  dancers  do  like  this. 

[All  bow  and  curtsy  to  partners. 

And  then  they  do  like  this. 

[All  bow  and  curtsy  to  corners.  The  music 
then  changes.  During  the  singing  of  the 
next  stanza  all  join  hands  and  go  round  to 
the  left. 


176       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 


(1)  Here       they         go  a      -       round, 

(2)  Here         in         hand          a      -      round, 


round, 
round, 


i 


Here  they    go      to  -  geth  -  er, 
Hand    in     hand    to  -  geth  -  er, 


Here  they    go 
Here  they    go 


m 


round,   round,   Round  -  y 
round,   round,   Round  -  y 


round   they   go! 
round   they    go! 


[On  the  repetition  of  the  music  (2),  partners 
cross  hands  and  promenade,  going  to  the 
right.  All  face  partners,  give  right  hand, 
and  pass  by,  giving  left  hand  to  the  next 
person,  and  so  on  round  to  places  again 
(grand  right  and  left),  while  the  singers 
sing  as  follows : 


A  LAWN  DANCE   FOE  LITTLE  PEOPLE        177 


(1)  Right    hand    and      left      hand    and    right    hand      a  - 

(2)  Right    hand     to        la    -     dy,     and     gai    -    ly      they 


gam, 
go, 


Right    hand    and    left    hand,      this     and    the 
Turn      with     the    left     hand,      nim  -  ble     and 


oth  -  er, 
read  -  y, 


Right  hand  and    left  hand  and  right  hand    a  - 
Right  hand    to      la  -   dy,  and    gai  -  ly    they 


gain,        Dane  -  ing     a     mer  -  ry       Eng  -  lish   chain, 
go,  Mer  -  ry     go   round  and     turn     me,     oh! 


12 


[On  the  repetition  of  the  music  (2),  girls  cross 
right  hands  in  the  middle,  swing  half  round, 
give  left  hand  to  opposite  boy,  and  turn ; 
girls  cross  right  bands  again,  swing  half 
round,  and  turn  partners. 


178       ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

[Music  as  at  first.  During  the  singing  of  the 
first  part  of  the  music  (1),  all  balance  and 
turn  partners,  then  form  a  line,  facing  the 
company. 


f_2  ,  ,.  —  1  ^  — 

^_=4=     —  _  m  ^ 

4  —  »  •       1     »  *  "  

(1)  Rath  -   er        tired,        al   -   most 
(2)  La          la          la,           la         la 

done,       They      are 
la,            La        la 

r-t-       -       m          £  3 

ra  —  £  —  -£  —  •Js  —  -3-  -j-*  —  =3*  —  j  — 

danc-ing,   they   are  danc-ing!   Rath-er     tired,      al  -  most 
la        la       la      la      la      Ja,     La       la       la,        La      la 

#=3==          —  T^=  ^^ 

sh=+^  zzrb^—  -I  1 

FINE. 

-*-  —  %  T=-r—  ^    II 

^^  f-^Brik^-3" 
done,        They      are    danc  -  ing, 
la,            La          la        la         la 

*  ^-1-J  —  MJ 

ev    -   'ry       one! 
la         la         la! 

fe:rrfcjE*=r=H 

-t  !  —  -J-1  —  ~-\\ 

/?N 

TOJ  J^~   —  £~    —  £~~    ~~J~    —  ? 

J  /  1 

All         the        danc    -    ers          do 

like           this,  — 

?--  —  —  to  1 

A  LAWN  DANCE  FOR  LITTLE  PEOPLE        170 

I),  c.  above. 


-ft  

/*, 

1                     -,-. 

-3^:*: 

IT 

&= 

And        then        they         do         like           this. 

s?\ 

--*=      -£=*! 

[All  bow  and  curtsy  to  partners,  and  then  to  the 
company.  After  making  their  bows  and  curt- 
sies, the  children  dance  off  in  single  file, 
while  the  singers  sing  "La,  la,  la,"  etc.,  to 
the  first  part  of  the  music. 

NOTE.— The  costume  for  the  children  may  be  as  elaborate  as 
one  pleases.  A  court  dress  of  the  last  century—  satin  and  velvet 
embroidered,  brocades,  silk  stockings,  white  wigs,  and  patches 
—would  be  quaint  and  handsome ;  dress  of  clown  and  colum- 
bine would  be  striking ;  but  the  simplest  change  from  ordinary 
wear  is  here  represented :  broad  neck-ruffs  and  sleeve-ruffles  for 
the  boys,  mob-caps  for  the  girls ;  the  ruffs  may  be  of  mosquito- 
netting,  and  the  mob-caps  can  be  of  a  simple  pattern. 


DICKY   DOT  AND   DOTTY   DICK 

BY  E.  S.  BROOKS 


CHARACTERS 

DICKY  DOT— boyish  and  buoyant. 
DOTTY  DICK— matronly  and  maidenly. 
ARABELLA,  the  doll— non-committal. 

Let  the  characters  be  taken  by  two  as  bright  little  children 
as  can  be  selected  for  the  parts;  the  younger  the  better; 
DOTTY,  a  little  girl  of  six  or  seven,  and  DICKY,  a  little  boy  of 
seven  or  eight.  The  only  properties  necessary  are  the  doll  and 
doll-carriage,  with  afghan  and  small  umbrella.  Dress  in  tak- 
ing costumes  of  to-day,  with  ulsters  and  large  hats,  if  possible, 
for  better  effect.  DICKY,  at  least,  should  have  an  ulster  and  hat. 
Caution  the  children  to  speak  slowly  and  distinctly. 

Dotty  enters,  right,  wheeling  Arabella  in  doll-carriage ;  stops 
at  center. 

DOTTY.    [Disconsolately.] 
Oh,  dear !  oh,  dear !  a  mother's  cares  are  really  very 

wearing ; 
I  did  so  want  to  rest— but,  no  j  this  child  must  have 

an  airing. 
[Convulsively.] 
Why,  Arabella  Florence  Dick,  you  '11  catch  your  death 

o'  danger ! 
How  dare  you  throw  that  afghan  off ! 

[Leans  down  to  adjust  it,  and  sees  Dicky  outside. 

180 


DICKY  DOT   AND   DOTTY  DICK  181 

My  goodness !  there  's  a  stranger. 
Why,  no  !—  why,  yes  !  it 's  Dicky  Dot,  a-prancing  and 

a-dancing. 
He  's  got  a  brand-new  ulster  on— my !  does  n't  he 

look  entrancing? 
And  does  n't  he  think  he  just  looks  fine  !     In  boys  it 's 

too  distressing 
To  see  them  thinking  of  their  clothes— we  girls  must 

mind  our  dressing. 

[Enter  Dicky,  at  the  left,  lifting  his  hat. 
Good  morning,  Mr.  Dicky  Dot ;  I  hope  you  're  well 

and  hearty. 

DICKY.    [Taking  his  hat  off  politely.] 
Oh,  thank  you,  Mrs.  Dotty  Dick ;  I  'm  quite  a  healthy 

party. 
And  how  are  you,  and  [bending  over  carriage]  how  's 

the  child — Miss  Arabella  Florence? 
DOTTY.   [Dolefully.] 
I  'm  well  enough  •  but  oh,  that  child  !     I  just  could 

weep  in  torrents ! 
She  does  enjoy  siich  feeble  health,  I  'm  in  a  constant 

fever ! 
I  hardly  dare  to  take  her  out— I  can't  go  off  and  leave 

her; 
And  so,  you  see,  I  'm  tied  at  home ;  it 's  such  a  wear 

and  bother ! 

Oh,  Mr.  Dicky  Dot,  be  glad  that  you  are  not  a  mother. 
DICKY.    [Thankfully]     I  'm  sure  I  'm  glad. 
DOTTY. 

Ah  yes  !  our  lives  are  just  a  lot  of  worry ; 
While  all  you  boys  have  easy  times— all  fun  and  play 

and  hurry. 


182        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

DICKY.   Oh,  no,  we  don't. 

DOTTY.    Oh,  yes,  you  do. 

DICKY.   We  have  to  work  for  true,  though. 

DOTTY. 
Well,  so  do  we,  and  worry,  too ;  that  does  n't  trouble 

you,  though ; 
You  walk  around  in  pantaloons— 

DICKY.    [With  an  injured  air.]     Only  one  pocket, 
though,  ma'am. 

DOTTY.   A  brand-new  ulster— 

DICKY.    \Proudly.]     Aint  it  nice  ?     I  'm  really  quite 
a  show,  ma'am. 

DOTTY. 
And  here  I  have  to  tend  and  mind  a  dreadful  fretty 

baby. 
I  'm  just  a  nurse-girl,  I  declare  ! 

DICKY.    [Consolingly.]     She  '11  soon  get  better. 

DOTTY.    [Dubiously.]     Maybe. 

DICKY.    [Seriously.]     You  're  only  play-mad ;  are  n't 
you,  now? 

DOTTY. 

Of  course ;  it 's  "  nothings  "  worry ; 
But  that 's  the  way  my  mama  acts  when  she  's  all  in 
a  flurry. 

DICKY.    [Hopefully.]     Some  day  we  '11  both  be  big 
folks,  too. 

DOTTY.    [WtYA  satisfaction.]     I  '11  wear  my  dresses 
longer. 

DICKY. 
And  I  '11  wear  boots,  and  big  high  hats,  and  be  a  great 

deal  stronger. 
And  you  won't  care  for  dolls ! 


DICKY  DOT   AND   DOTTY  DICK  183 

DOTTY.   [Expostulatingly.]     Oh,  yes ! 
DICKY.    [Stoutly.]     Oh,  no  ! 
DOTTY.    [Decidedly.]     I  '11  always  love  them. 
DICKY.  [Patronizingly.] 

Oh,  not  when  you  're  a  lady,  Dot  j 
'Cause  then  you  '11  feel  above  them. 
DOTTY.    [Thoughtfully.}      And  what   will  you  be, 
Dicky  Dot?    A — butcher — or — a — teacher? 

DICKY.    [Considering.]     Oh,  neither,  Dot;  I  think— 
I  '11  be — a — prince — or  else — a  preacher. 

DOTTY.    I  'd  be  a  prince,  if  I  were  you— all  spangles, 
gold,  and  rattle. 

DICKY. 

I  think  I  '11  be  a  general,  and  lead  my  troops  to  battle. 
What  would  you  say  to  see,  some  day— a-galloping 

and  rearing— 
Me — Major-General  Richard  Dot — and  hear  the  people 

cheering  ? 
DOTTY.    [Coolly.] 

I  s'pose  I  'd  say,  "  Why,  goodness  me ! 

What  is  that  Dicky  trying  ? 
I  'm  sure  he  '11  fall  and  hurt  himself !  " 

And  then  you  'd  tumble,  crying. 
DICKY.    [Indignantly.] 
I  guess  I  would  n't,  Dotty  Dick  •  why— generals  never 

tumble. 

I  '11  be  a  man  then. 
DOTTY.   So  you  will. 

DICKY.    [Contemptuously.]     And  you  '11  be  scared 
and  humble. 

DOTTY.    [Energetically.]     Oh,  no,  I  won't  j  for  then 
I  '11  be  a  queen  so  grand  and  glorious. 


184       ST.   NICHOLAS   PLAYS  AND   OPERETTAS 

DICKY.    [Incredulously.]     You?— Dotty  Dick? 
DOTTY.    [Magnificently.]     Yes— me !  I  '11  be  Queen 
Dora,  the  victorious ! 

DICKY.    [Dumfounded.]     Well— well! 
DOTTY. 
And  then  the  kings  will  crowd  to  beg  my  hand  in 

marriage. 
And  I  will  say — 
[Haughtily.] 

"  Ah— General  Dot,  just  order  up  my  carriage  !  " 
DICKY.    [  Taken  all  aback  by  this  grandeur.] 
Well— I  must  say— of  all  the  girls  that  plague,  and 

tease,  and  tickle  us— 
You  are  about  the —     Dotty  Dick,  I — really — am— 

DOTTY.    [Sarcastically.]     Jte-dick-alous ! 
Oh,  Dicky  Dot !     Oh,  Dicky  Dot !  do  you  think  only 

you,  sir, 
Can  grow  up  big,  and  grand,  and  fine?     What  you 

do,  I  can  do,  sir ! 
So  why  can't  we  be  partners  then,  the  same  as  when 

we  're  playing? 
You  be  the  general— J  '11  be  queen,  whom  all  the 

world  's  obeying. 
And  you  will  be  so  brave  and  strong  that  none  can 

ever  humble  me. 

DICKY.    [Bombastically.]     Yes,  7  '11  protect  you  ! 
DOTTY.   [Starting  suddenly  away  from  carriage.]    Oh  ! 
what  's  that? — a  dreadful,  horrid  bumblebee  ! 

DICKY.    [Running  away.]    Look  out !  he  '11  sting  you ! 

[Opens  umbrella,  and  holds  it  before  him. 
DOTTY.    [Piteously.]     Drive  him  off  ! 


DICKY  DOT   AND  DOTTY  DICK  185 

DICKY.    [Backing  farther  off.} 

I  can't !  he  '11  sting  a  fellow. 

Come  under  the  umbrella — quick !     He  's  there  by 
Arabella. 

[Dotty  runs  under  the  umbrella,  and  they  both 
sit  on  the  ground,  central,  under  cover  of  its 
protection.  Then  they  cautiously  put  their 
heads  out,  at  opposite  sides,  and  afterward 
look  at  each  other. 

DOTTY.  [Sarcastically.]  Well,  Major-General  Rich- 
ard Dot,  you  are  a  brave  defender ! 

DICKY.    [Apologetically.}     I  'm  'fraid  of  bees. 

DOTTY.  [Critically.}  But  generals  ought  n't  to  be 
quite  so  tender! 

DICKY.  [Starting  bravely  to  his  feet.]  Queen  Dora, 
shall  I  charge  the  foe  ? 

DOTTY.  [Rising,  but  guarding  herself  with  the  open 
umbrella.] 

Do,  general,  I  implore  you ! 

He  's  at  my  daughter !     Oh,  see  there !     Save  her, 
and  1 711  adore  you ! 

DICKY.  [Putting  off  his  hat,  and  charging  manfully 
toward  the  carriage,  beating  the  air  as  if  he  were  striking 
down  a  bee.]  Be  off,  you  traitor  !  [Dodging  him.]  No, 
you  don't !  Ha,  ha  !  I  've  killed  him,  Dotty  !  [Clap- 
ping his  hand  to  his  mouth.]  Oh,  oh  !  he  's  stung  me ! 

DOTTY.  [  Dropping  the  umbrella,  and  rushing  to  Dicky's 
side,  full  of  sympathy.]  Dicky  !  Where  ? 

DICKY.  [Jumping  in  pain  and  showing  his  hand  to 
Dotty.}  O-o-o !  There ! 

DOTTY.  [Examining  it  critically.]  How  white  and 
spotty !  Say,  will  it  kill  you  ? 


186        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

DICKY.  [Dubiously.]  I  don't  know.  I  s'pose  there  's 
poison  in  it ! 

DOTTY.  [In  tears.]  Oh,  dear  !  Oh,  dear  !  And  all 
for  me  !  Oh,  why  did  I  begin  it  ? 

DICKY.  [Consolingly.]  Now,  Dotty,  darling !  don't 
you  fret !  I  '11— o-o-o-o  !— I  '11  try  to  bear  it. 

DOTTY.  Poor  Dicky !  let  me  wrap  it  up  [stripping 
the  afglian  off  the  carriage  and  surveying  it  critically]. 
Oh,  dear !  I  '11  have  to  tear  it. 

DICKY.  [Putting  it  back.]  No,  no ;  your  handker- 
chief will  do. 

DOTTY.    [Siveetly.]     I  '11  kiss  it ! 

DICKY.   That  11  cure  it ! 

[Dotty  kisses  the  stung  hand. 

It  don't  pain  half  so  badly  now ;  I  think  I  can  endure  it. 
DOTTY.    [  Wrapping  Dicky's  hand  up  in  her  handker- 
chief] 

Oh,  what  a  brave  boy,  Dicky  Dot !     You  ?re  gen- 
eral no  longer. 
If  I  'm  the  queen,  then  you  be  king :  you  're  nobler, 

sir,  and  stronger. 
And  Arabella— she  shall  be  the  fairy  who  shall  lead 

us 
To  where  our  golden  palace  stands,  with  lords  to 

serve  and  feed  us. 

DICKY.  But  we  've  not  got  our  king-clothes  on— 
't  will  set  the  folks  a-staring. 

DOTTY.  I  think  I  'd  rather  see  my  king  his  brand- 
new  ulster  wearing. 

DICKY.    [Utterly  captivated]     Oh,  are  n't  you  nice  ! 
DOTTY.    [Siveetly.]    And  so  are  you. 


DICKY  DOT   AND  DOTTY  DICK  187 

DICKY.    [  TJw ughtfully.  ] 
My  papa  said,  this  morning, 

'T  was  manlier  to  rule  yourself  than  be  a  throne 
adorning. 

DOTTY.    [Puzzled.]     What  did  he  mean  ? 

DICKY.    [Still  thoughtful]     I  s'pose  he  meant  a  cow- 
ard 's  mean— and— sniffy  ! 

DOTTY.    You  're  not. 

DICKY.    [Accusingly.]     I  ran. 

DOTTY.    [Emphatically.]     But  then— you  killed  that 
buzzer — in  a  jiffy  ! 

DICKY.  [Confidingly.]     Well,  Dotty,  something  said 
—  right  here  [putting  his  hand  on  his  heart]  : 

u  H'm  !  you  're  a  pretty  fellow, 

A-hiding  from  a  bumblebee  behind  a  big  umbrella ! 
A  general  that  's  'fraid  to  fight  will  fail  unless  he  's 

bolder. 
If  you  're  a  'f raid-cat  now,  you  '11  be  a  'f raid-cat  when 

you  're  older." 
And  so  I  up  and.  killed  him  dead. 

DOTTY.    [ShaMng  her  head.]    He  's  stung  you  badly, 
maybe. 

DICKY.    [Stoutly.] 

I  'd  rather  be  hurt  awful  bad  than  be  a  coward-baby. 
How's  Arabella? 

DOTTY.    [Examining  Arabella  carefully.]     She  's  all 
right. 

DICKY.   No  stings  on  hand  or  f ooty  ? 

DOTTY.   Oh,  no ;  she  's  just  mussed  up  a  bit  j  I  711 
fix  her  nice  and  pretty. 

[Shakes  Arabella  out,  and  rearranges  her  in  the 
carriage. 


188     ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

DICKY. 
Let  7s  play  the  bee  was  monstrous  big  and  had  a 

dragon's  head  on, 
And  you  two  be  the  princesses,  such  as  they  're  always 

fed  on. 
I  '11  be  the  prince  who  's  galloped  up,  at  just  the  lucky 

minute, 
And  killed  the  dragon  dead— and  left  my  sword  a- 

sticking  in  it. 
DOTTY.    [Enthusiastically.] 
Oh,  yes.     Well,  I  'm  the  princess,  then — just  like  the 

fairy  story ; 
And  we  '11  live  happy  all  our  days,  with  lots  of  gold 

and  glory. 
DICKY. 
All  right.     And   as  the  dragon's  dead,   let  's  play 

there  7d  come  to  meet  us 
A  big  procession,  with  the  king  and  all  his  court,  to 

greet  us. 

DOTTY.  [Grasping  the  doll-carriage.]  Then  let 
Prince  Dicky  lead  the  way. 

DICKY.    [Shouldering  the  umbrella.] 

Let  Princess  Dotty  follow, 

With  Arabella,  off  of  whom  the  dragon  took  a  swallow. 
DOTTY.    She  's  in  the  chariot— oh,  so  ill ! 
DICKY. 

Move  on  now  to  the  palace. 
Guns  boom,  flags  wave,  because  we  've  all  escaped  the 

dragon's  malice. 

DOTTY.  [Stopping  him  and  taking  his  hand.\  But, 
'fore  we  go,  we  ought  to  thank  these  friends  who  've 
listened  to  us. 


DICKY  DOT  AND  DOTTY  DICK  189 

[Both  face  the  audience. 

DICKY. 
If  you  are  pleased,  then  we  are  glad  •  such  good  your 

smiles  can  do  us. 
And  if,  sometime,  you  come  to  court,  just  ask— 

DOTTY.   We  '11  come  out  quick— 

[Both  join  hands. 

DICKY.   For  Prince  and  General  Dicky  Dot. 
DOTTY.   And  Princess  Dotty  Dick. 

[Both  bow  majestically. 

NOTE. — If  no  curtain  is  used  the  children  can  then  march  off 
—Dicky,  with  umbrella,  in  front,  and  Dotty,  rolling  doll-car- 
riage, following. 


AN  OLD   ENGLISH   FOLK-SONG 

(Arranged  for  Recitation  with  Musical  Accompaniment)1 
BY  EDGAR  S.  KELLEY 


There  was  an  old  woman 


1  The  words  of  the  text  are  to  be  recited  throughout,  except 
the  line,  "  Lawk  'a'  mercy  on  me,  this  is  none  of  I !  "  which  may 
be  sung  ad  libitum. 

190 


AN  OLD  ENGLISH   FOLK-SONG  191 

I  ;ve  heard  tell,  She  went  to  the  market  her  eggs  for  to  sell ; 


=?^ 


g—y 


fe 


She  went  to  the  market  all  on  a  market  day,  And  she  fell  asleep 


on  the  king's  highway.       [The  peddler  approaches.] 


—'. H — E?_l.  JU     •      :          ^^ 


There 


a  poco. 


crescendo. 


192        ST.    NICHOLAS  PLAYS  AND   OPERETTAS 

came  by  a  peddler  whose       He  cut  off  her  petticoats 
name  was  Stout ; 


all  round  about ;    He  cut  off  her  petticoats     Which  made  the 
up  to  the  knees,     old    woman    to 


PP 


•% 


shiver  and  freeze.     Now  when  the  old  woman  did  first  awake, 


She  began  to  shiver  and  she        She  began  to  wonder  and  she 
began  to  shake  ;  began  to  cry, 


AN  OLD  ENGLISH  FOLK-SONG  103 


mf 


II 


f  J  IJ= 


"Lawk 'a'      mer  -  cy      on      me,    this      ia      none      of      I! 


But    if    it    be    I,  as  I  hope  it  be,  I  've  a  little  dog  at  home, 


eLz 


and  he  '11  know  me  :     If  it  be  I  he  '11  wag  his  little  tail ; 


194       ST.   NICHOLAS  PLAYS  AND   OPERETTAS 


If  it  be  not  I  he  '11  loudly  bark 
and  wail." 


Faster. 


iH  ll 


nf 


SS- 


-- ft-pS *--, 

7T«      i.          » 


Slow. 


[The  little  old  woman 


p  8va. 


rvends  her  way  homeward.  _, 
< 
t 


Home  went  the  old  woman  all  in  the  dark, 
Up  got  the  little  dog  and  he  began  to  bark. 


Faster. 


AN  OLD  ENGLISH  FOLK-SONG 


195 


He  began  to  bark,  and  she  began  to  cry, 

=*       =*         ,        7*  ,        =>  Tempo  I.     ^ 


^£st 


Lawk'a'     mer  -  cy      on       me,    this      is       none    of    I!" 

^=^1=^=^==^=^ 


mf 


^—+ 


2. 


HAYDN'S   "CHILDREN'S   SYMPHONY" 

BY  JAMES  JUDSON  LORD 

Do  you  know  that  Haydn,  the  great  musical  com- 
poser, wrote  a  symphony  for  the  special  delight  and 
exercise  of  children— a  real  symphony,  wilder  and 
sweeter  than  the  chorus  of  a  thousand  birds?  The 
children  required  to  perform  it  need  not  be  trained 
little  musicians.  They  must  only  be  attentive,  and 
possessed  of  a  quick,  true  ear  for  music,  and  able  to 
keep  the  dimples  quiet  while  the  very  funny  yet  beau- 
tiful performance  is  going  on.  Now,  you  shall  have 
full  directions  for  getting  up  the  symphony.  The 
music  can  be  obtained  at  almost  any  first-class  music 
publisher's,  and  the  toy  instruments  at  any  importing 
toy-house. 

To  perform  the  "Children's  Symphony  "successfully, 
an  experienced  musical  director  is  required,  and  four 
instrumental  performers,  with  first  and  second  violins, 
violoncello,  and  bass-viol.  Then  eight  children,  with 
toy  instruments,  viz. :  The  cuckoo,  with  two  tones, 
G  and  E.  (The  violins  and  bass-viol  must  be  tuned 
by  this  instrument.)  The  whistle  is  a  large  clarionet- 
shaped  toy,  which  must  be  in  G.  The  trumpet,  a  large 

196 


HAYDN'S  "  CHILDREN'S  SYMPHONY"  197 

metallic  toy,  must  also  be  in  G.  The  part  for  the 
drum  (a  full-grown  toy)  is  identical  with  the  trumpet. 
For  the  quail  (if  a  proper  quail-pipe  cannot  be  ob- 
tained) a  second  whistle  can  be  used,  which  must  be 
in  F.  The  night-owl,— a  mug-shaped  instrument,  with 
an  orifice  in  its  side,  through  which  a  whistle  is  in- 
serted,—when  used,  is  partly  filled  with  water,  to  give 
the  tremulous  owl-hoot  sound.  The  common  rotary 
rattle  and  an  ordinary  triangle  are  used.  The  cym- 
belstern  is  an  upright  standard,  with  two  horizontal 
rings  of  different  diameter,  on  which  are  fastened 
many  bells,  various  in  shape  and  tone. 

The  four  leading  instruments,  playing  in  concert, 
seem  to  inspire  the  timid  toys  with  confidence,  and 
with  persuasive  and  kindly  notes  to  draw  them  out, 
each  in  its  proper  place,  so  that  "  Cuckoo !  cuckoo ! 
cuckoo !  n  appears  as  harmonious  among  the  peerless 
notes  of  the  great  master  as  in  the  beautiful  twilight 
of  the  summer  sky,  and  the  shriek  of  the  night-owl  as 
weird  and  gloomy  as  at  midnight  hour  in  the  dark 
recesses  of  its  woodland  haunts.  When  we  see  one  so 
eminent  bending  his  heavenly  art,  like  the  rainbow 
touching  the  earth,  to  meet  the  capacity  and  to  make 
glad  the  hearts  of  children,  we  can  well  believe  that 
his  own  soul  must  have  been  touched  with  the  spirit 
of  Him  who  took  little  children  in  his  arms  and 
blessed  them. 

The  origin  of  the  beautiful  symphony  is  not  gener- 
ally known,  but  it  has  been  pleasantly  told  by  a  Ger- 
man writer. 

Would  you  like  me  to  give  a  free  translation  of  the 
story  ?  Here  it  is : 


198        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


PROLOGUE  TO  HAYDN'S  CHILDREN'S   SYMPHONY 

Near  Salzburg,  once,  good  Father  Haydn 

Some  leisure  spent  at  Berchtesgaden 

(A  rustic  hamlet,  cheered  by  mountain  rills, 

Perched  like  a  birdling's  home  among  the  hills), 

Where,  with  much  thrift,  the  villager  employs 

His  gentle  time  and  skill  in  making  toys, 

As  drums  and  trumpets,— such  as  swell  the  din 

Of  mimic  battles  fought  with  swords  of  tin, — 

And  tiny  lutes,  whose  notes  full  oft  inspire 

In  after  years  to  string  the  charmed  lyre : 

No  trifler's  art.     (The  maxim  here  unfurled 

Is,  Please  the  child  and  you  will  please  the  world.) 

Once,  as  he  lingered  in  the  village  street 
To  sport  with  children  he  had  chanced  to  meet 
(For  in  his  nature  he  was  pure  and  mild ; 
Like  all  the  truly  great,  himself  a  child), 
Good  Father  Haydn  to  himself  thus  spoke : 
u  Oft  has  your  ardor  for  the  grand  awoke 
Such  strains  as  might  a  worldly  mind  elate, 
And  please  the  learn'd,  and  men  of  high  estate : 
Now  wake  a  grander  symphony  to  please 
And  move  the  hearts  of  such  dear  ones  as  these ; 
And  with  such  instruments  their  hearts  to  move 
As  in  their  childish  habits  they  approve.'7 

The  morning  brought  the  "  Children's  Symphony  "- 
Eight  tiny  trinkets  chiming  in  their  glee, 
Led  by  the  abler,  as  you  see  at  school 
The  master  foremost  with  his  rod  and  rule. 


HAYDN'S    " CHILDREN'S  SYMPHONY"  199 

The  rattle,  whistle,  and  the  cymbelstern 
Rattled  and  piped  and  clattered  in  their  turn ; 
The  cuckoo,  quail,  and  night-owl l  could  be  heard, 
Whooping  their  best  to  be  the  better  bird ; 
And  drum  and  trumpet,  with  much  clamor  blest, 
Were  not  a  whit  more  bashful  than  the  rest. 

First  an  allegro,  brisk  as  song  of  bird, 

In  which  a  cuckoo's  cheering  notes  are  heard, 

And  then  a  trio  and  a  minuet, 

Their  graceful  tones  like  sparkling  jewels  set ; 

And  then  a  presto  comes  to  close  it  all, 

Which  cannot  fail  to  please  both  great  and  small. 

Although  upon  such  playthings,  still  the  part 
To  be  performed  will  be  no  less  an  art. 
And  should  some  small  affrighted  trumpet  shriek, 
Or  bashful  whistle  loose  its  voice  and  squeak, 
Or  some  presumptuous  little  would-be  drum 
Should  be  puffed  up,  and  then  collapsed  and  dumb, 
Don't  let  such  little  things  excite  your  wonder  j 
You  know,   dear  friends,   great    artists   sometimes 
blunder. 

1  Cuckoo,  quail,  and  night-owl   are  names  of  German   toy 
instruments. 


A  TOPSYTURVY   CONCERT 

BY  GEORGE  BRADFORD  BARTLETT 

THIS  is  one  of  the  funniest  entertainments  ever  seen, 
and  one  of  the  easiest  to  prepare. 

It  needs  only  a  screen  or  a  curtain  stretched  across 
any  room. 

The  height  of  the  curtain  may  be  determined  by 
the  size  of  the  children  who  sing  in  the  concert,  for 
they  stand  in  a  row  behind  the  screen  or  curtain. 

It  is  well  to  have  these  singers  nearly  of  the  same 
size,  as  the  screen  or  curtain  should  conceal  all  of 
their  bodies  except  the  head  and  neck. 

The  only  preparation  required  is  that  the  arms  and 
hands  of  each  should  be  covered  with  stockings,  and 
that  shoes  be  worn  upon  each  hand,  with  the  soles  of 
the  shoes  pointed  forward,  so  that  the  toes  will  be 
turned  toward  the  spectators,  who  are  seated  in  front 
of  the  curtain  at  a  little  distance.  At  the  conclusion 
of  each  verse  the  singers  stoop  down  all  together  and 
very  quickly,  and  each,  lowering  the  head,  elevates 
the  arms  above  the  curtain. 

200 


A  TOPSYTURVY  CONCERT 


201 


The  effect  thus  produced  is  that  all  the  singers 
seem  to  be  standing  on  their  heads. 

They  keep  time  with  their  feet  (or  rather  hands)  to 
the  music  of  the  song,  and  the  sudden  changes,  when 
done  simultaneously,  will  never  fail  to  amuse. 

The  idea  of  this  unique  performance  probably 
originated  in  the  fertile  brain  of  a  Frenchman  •  but  it 
has  been  adapted  for  the  use  of  children,  and  will 
prove  an  enjoyable  addition  to  the  holiday  merrymak- 
ings. 


THE   CHANGELING 

A  FLOWER   AND   FAIRY   MASQUE 
BY  HARRIET  PRESCOTT  SPOFFORD 

CHARACTERS 

LITTLE  Jo.  THE    LITTLE    MEN   IN    GREEN 
THE  ROSE-SPRITE.  (three). 

THE  NIGHT-MOTH.  THE    MAIDENS    OF    THE    MIST 
BEES'-WINGS.  (three  or  more). 

WHITE  OWLET.  THE  LOST  TOYS  (three). 

FLITTER-FLUTTER.  THE  BROKEN  DOLLS  (three). 

THE  DAY-DREAM.  THE  FAIRY  LADY. 
HONOR,  THE  MAID. 

FAIRIES  : 

JACK-O'-LANTERN.  QUAKER-LADIES. 

COCKSCOMB.  MOURNING-BRIDE. 

MONK'S-HOOD.  SNAPDRAGON. 

WAKE-ROBIN.  SWEET-WILLIAM. 

MARIGOLD.  SWEET-PEAS. 

PRINCE'S-FEATHER.  LITTLE  MIGNONETTE. 

THE  FAIRY  HERALD. 
THE  VOICE  OF  CHANTICLEER. 

PLACE.     A  garden  terrace. 

TIME.     Between  sunset  and  twilight. 

Music.  Cornet  and  clarinet.  If  a  piano,  then  an  accompa- 
nist who  can  modulate  from  one  key  to  another  for  the  various 
songs  and  choruses.  The  clarinet  will  always  support  the  solo. 

COLORED  LIGHTS.  Toward  the  last.  Pale  rose  for  the  dances ; 
pale  blue  for  the  Fairy  Lady's  apparition. 

202 


THE  CHANGELING  203 

DRESSES.  Cheese-cloth,  tarlatan,  and  other  inexpensive  mate- 
rial, arranged  according  to  the  part.  The  Little  Men  in  Green 
entirely  in  green,  with  pointed  caps,  and  spears  representing 
grass.  The  Maidens  of  the  Mist  wrapped  in  white  tarlatan,  a 
long  piece  loosely  folding  one  and  passing  to  the  next,  folding 
her  and  passing  to  the  other.  If  there  are  but  few  to  take  parts, 
those  who  have  already  appeared  may  represent  the  Maidens  of 
the  Mist  by  winding  the  long  piece  of  white  tarlatan  round  their 
other  costumes,  and  afterward  hanging  it  on  bushes  in  the  fore- 
ground. The  Fairy  Lady  in  any  dress,  shrouded  with  flowing 
white,  transparent  stuff.  Flitter-flutter  in  a  long,  clinging, 
primrose-colored  gown,  with  very  large  wings.  Little  Mignon- 
ette with  a  waist  looking  like  one  bunch  of  mignonette,  from 
which  her  head  and  shoulders  rise.  Day-dream,  in  skirts  like 
the  scarlet  poppy-petals,  black  bodice,  and  scarlet  silk  scarf  to 
wave.  The  Night-moth  in  black,  thin  material,  the  rather  long 
skirts  spangled  in  rows  of  gold  and  silver,  stomacher  all  spangles, 
angel  sleeves,  long,  narrow  wings,  black  ostrich-feathers  over 
the  head.  The  Rose-sprite  in  very  full  and  rather  long  pink 
skirts,  cut  in  large  scallops  and  unhemmed,  to  be  lifted  and 
held  out  at  one  side  in  dancing ;  wreath  of  roses  round  the  top 
of  the  half-high  green  corsage ;  hat  like  the  petals  of  a  huge 
wild  rose,  on  one  side  of  the  head ;  tan-colored  stockings  and 
boots.  These  dresses  may  be  varied  according  to  individual 
taste.  All  the  lesser  fairies  are  not  indispensable.  The  Broken 
Dolls,  if  unable  to  sing,  may  make  jerky  motions,  the  chorus 
giving  the  words.  The  Lost  Toys  may  represent  a  Jumping- 
jack,  a  Ninepin,  a  Kite.  The  dancing  is  to  be  done  like  Queen 
Elizabeth's — "high  and  disposedly,"  but  with  abandon. 

A  band  of  Fairies  come  dancing  on  the  green  in  opposite 
directions,  each  keeping  to  the  right  after  passing,  thus  circling  in 
a  ring,  led  by  the  Night-moth  and  the  Rose-sprite,  who  presently 
withdraw  inside  the  ring,  still  singing  while  the  others  dance. 

CHORUS. 

(No.  1.)  Air:  "We  are  dainty  little  fairies."—  "lolanthe," 
No.  1,  Act  I.  (Repeat  the  first  part  of  the  tune  for  the  last 
verse.) 


204       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Are  we  flowers  or  fairy  people,  always  springing,  al- 
ways singing? 

When  the  sun  forsakes  the  steeple,  when  the  evening 
breezes  fan, 

Look  across  the  last  ray  slanting,  purple  mist  your 
eyes  enchanting; 


THE   ROSE-SPRITE. 


Are  we  flowers  or  fairy  people  ?   You  may  answer,  if 
you  can ! 

Many  a  night-moth  flits  before  us  ;   gayest  laughter 

follows  after. 

[Laughter  behind  the  scenes. 

Bees  belated  blunder  o'er  us ;  whippoorwills  send 
warning  cries. 


THE  CHANGELING  205 

When  you  hear  our  airy  whistles,  down  that  's  blow- 
ing off  from  thistles, 

[Whistles  behind  the  scenes. 

You  may  deem  us,  you  may  dream  us — but  the  sun- 
set 's  in  your  eyes  ! 

From   the  roses   faint   and  heavy,    softly  stooping, 

swiftly  trooping, 
From  the  brambles  in  a  bevy,  from  the  blossoms, 

from  the  bells, 

Whether  it  is  pansies  springing,  whether  it  is  blue- 
birds winging, 

Or   canary-bird  flowers  singing,  is  a  thing  white 
magic  tells ! 

[The  fairies  are  still  dancing  when  the  Rose- 
sprite  separates  from  them,  comes  forward, 
and  sings. 

ROSE-SPRITE. 

(No.  2. )    Air :  "  She  wore  a  rose  in  her  hair." — George  Osgood. 

All  day  I  slept  in  the  rose, 

And  I  hardly  know  myself— 
So  sweet  is  the  breath  that  blows— 

If  I  be  flower  or  elf. 

[The  Rose-sprite  whirls  back  among  the  others, 
and  the  Night-moth  steals  forward,  and  sings 
to  the  same  air. 

NIGHT-MOTH. 

(No.  3.) 

I  curled  in  the  lily's  cup 

The  livelong  summer  day, 
Till  she  folded  her  petals  up, 

And  I  slipped  like  the  dew  away. 


206       ST.    NICHOLAS   PLAYS  AND   OPERETTAS 


[As  the  Night-moth  slides 
back,  Bees'-wings  comes 
swiftly  zigzagging  across, 
pauses,  and  sings. 

BEES'-WINGS. 

(No.  4.)  Air:  "If  I  were  king." 
— Adolphe  Adam.  (Beginning 
at  second  bar,  singing 
nine  bars,  omitting  the 
next  twenty-five,  sing- 
ing four,  omitting  all 
the  rest.) 


I  was  just  a  big 
brown  bee, 
Buzzing  home, 
hey,  nonny, 
nonny ! 

When  the  fairies  cap- 
tured me, 

Stole  my  sting,  and 
kept  my  honey ! 
[Runs  off. 

CHORUS  OF  FAIRIES. 
[  With        mischievous 
glee.] 
He  was  just  a  bim-bome-bim, 

Buzzing  home,  hey,  nonny,  nonny ! 
When  the  fairies  captured  him, 

Stole  his  sting,  and  kept  his  honey ! 

[The  dance  continues,  the  fairies  swinging  one 
another,  moving  in  and  out,  and  Flitter- 
flutter  floats  forward,  singing. 


FLITTEK-FLUTTER. 


THE  CHANGELING 


207 


FLITTER-FLUTTER. 

(No.  5.)     Air:  Trio,  "Every  journey  has  an  end."— "lolan- 

the,"  No.  8,  Act  II. 

Flittering,  fluttering  out  of  the  sky, 
Primrose-petal  or  butter- 

%, 

Flittering  off  on  the  wind 

1  go, 
Wherever  its  soft  breath 

cares  to  blow. 

[Floats  back. 

FAIRY 

CHORUS.     [Blow- 
ing kisses  into  the  air. 
Flittering,      fluttering, 

off  she  goes, 
Wherever  the  fragrant 

south  wind  blows. 

[The  fairies  join  hands, 
and  run  in  a  ring, 
leaving  out  Day- 
dream, who  sings  to 
the  same  air. 

DAY-DREAM. 

(No.  6.) 
The  splendid  poppy,  to  make 

my  tent, 
His    scarlet    silken    curtains 

*^n *  j  THE  FAIKY  LADY. 


208         ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


There  all  day  long  did  I 
drowse  and  sleep, 

And  my  dreams  were 
soft,  and  my  dreams 
were  deep. 

[Bugle  in  the  distance. 

FAIRY  HERALD.    [Run- 
ning on.] 

Recitative. 

Hark !  Sound  retreat ! 
Beat  quick,  ye  fairy 
drums ! 

[Trills  on  base  notes  of 
instruments. 

Haste,  haste !  Hush, 
hush !  This  way  a 
mortal  comes ! 

[Mingles  with  the  fair- 
ies. All  show  fear, 
and  huddle  to- 
gether. Enter  Lit- 
tle Jo,  in  his  nightgown,  waving  a  butterfly- 
net,  hurrying  on,  and  stopping  suddenly  in 
surprise. 

LITTLE  Jo.   [Speaks.] 

Why,  I  was  sure  I  saw  them ; 

I  actually  thought 
That  if  I  had  been  down  here 

A  butterfly  I  'd  caught. 

FAIRIES.    [In  chorus,  softly,  all  stooping  toward  Mm 
from  the  background  in  the  right.] 


THE  NIGHT-MOTH. 


THE  CHANGELING 


209 


(No.  7.)  Air:  "Yet 
Britain  won,"  cho- 
rus to  Lord  Mount- 
ararat's  song.  — 
"lolanthe,"  No.  3, 
Act  II.  (Changed 
to  4  time.) 

Ha,  ha,  ha !  he  really 

thought 
That  he  a  butterfly 

had  caught ! 

[Jo  listens,  start- 
led, but  re- 
sumes as  if 
convinced  he 
had  not  heard 
anything. 


BEES'-WINGS. 


LITTLE  Jo. 
Now,  could  it  be  a 
fairy 

That  I  saw  flitting  by, 
As  I  leaned  from  the  window— 
Or  just  a  butterfly  1 

FAIRIES.    [In  chorus,  turning  to  one  another,  amused.] 

(No.  8.)     Air :  Same  as  No.  7. 

Ha,  ha,  ha !  went  flitting  by, 
Nothing  but  a  butterfly ! 

LITTLE  Jo. 

I  did  n't  wait  to  dress  me, 

For  I  've  been  sent  to  bed. 
I  hurried  just  like  wild-fire, 

And  'most  forgot  my  head ! 

14 


210     ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

FAIRIES.    [In  chorus,  quite  uproariously.} 
(No.  9.)     Air:  Same  as  No.  5. 

Ha,  ha,  ha !     Fairies,  hear ! 

He  quite  forgot  his  head,  we  fear ! 

LITTLE  Jo. 

I  wish  I  had  some  fern-seed— 

They  say  it  never  fails ; 
Or  the  salt  that  catches  birdies, 
If  you  put  it  on  their  tails. 

FAIRIES.    [In  chorus,  very  affirmatively.] 

(No.  10.)     Air:  Same  as  No.  7. 

Ha,  ha,  ha !  it  never  fails 
If  you  put  it  on  their  tails ! 

LITTLE  Jo. 

Perhaps  I  had  been  dreaming— 

I  guess  I  was ;  but  then, 
If  I  should  wait  a  moment 

They  may  come  back  again. 

FAIRIES.      \In    chorus,  more 
boldly.] 

(No.  11.)     Air:  Same  as  No.  7. 
Ha,  ha,  ha !  just  wait,  and  then 
Surely    they    '11    come    back 
again ! 

LITTLE  Jo. 
I  wonder  whether  fairies— 

You  really  don't  believe, 
When  Honor  talks  of  fairies, 

That  she  's  laughing  in  her 
LITTLE  jo.  sleeve  ? 


THE  CHANGELING 


211 


FAIRIES.    [Indignantly.] 

(No.  12.)     Air:  Same  as  No.  5. 

Oh,  oh,  oh !  yon  don't  believe 
Honor  's  laughing  in  her  sleeve  ! 


LITTLE  Jo. 
growing  tired  and 

There 's  no  such 
It 's  all  a  story  ! 


[Looking  about, 
vexed.] 

thing  as  fairies  ! 

So! 


THE  DAY-DREAM.     [Amazed  looks  among 

the  fairies. 
I  wish— I  am  so  sleepy— 

[Yawns. 
I  don  7t  believe— I— o—o— oh  ! 

[Yawns  again,  stretches,  sinks  down  and  sleeps. 

FAIRIES.    [Crowding  round.}     Oh,  oh,  oh,  oh! 

[Tiptoeing,  and  singing  one  by  one. 


212        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


(No.  13.)  Air :  "Down  the  shadowed  lanes  he  goes."— George 
Osgood.     (Beginning  at  "As  she  strayed  and  as  she  sang.") 

Is  n't  he  a  little  dear  ? 

Just  the  sweetest  ever  seen  ! 
Let   us   take   him 
for  a  Change- 
ling! 

Take  him  to  the 
Fairy  Queen ! 
is  a  shame  he 
should  be  mor- 
tal! 

Turn  him,  turn 
him  to  a  fay ' 
Wave  your  charms, 
and        weave 
your  dances, 
Sing  your  spells 
—away, away ! 

[All  together,  in 
a  ring,  dancing 
round  him  and 
concealing  him 
while  he  slips 
off  his  night- 
gown to  show 
costume  be- 
neath, repeat 
to  the  same  air 
as  before. 

Is  n't  he  a  little  dear  ?    Just  the  sweetest  ever  seen  ! 
Let  us  take  him  for  a  Changeling!     Take  him  to  the 
Fairy  Queen ! 


PKINCE'S-FEATHEK. 


THE  CHANGELING 


213 


'T  is  a  shame  he  should  be  mortal !     Turn  him,  turn 
him  to  a  fay  ! 

Wave  your  charms,  and  weave  your  dances,  sing  your 
spells— away,  away ! 
[The  fairies  break 
the  ring,  and 
Little  Jo  is 
seen  in  tights, 
trunks,  pea- 
cock wings, 
and  antenna). 
He  looks  him- 
self over,  gazes 
about  him,  nut- 
ters his  wings, 
looks  over  his 
shoulder  at 
them,  springs 
to  his  feet,  and 
sings. 

LITTLE  Jo. 

(No.  14.)  Air:  "Lit- 
tle     Bo-peep."  - 
"Mother     Goose's 
Melodies,"  by  El-  .'. 
liott. 

SNAPDKAGON. 

Why,  there  are  such  things  as  fairies  ! 

And  if  any  one  says  there  are  not, 
Take  the  dart  of  a  bumblebee, 

And  shoot  him  on  the  spot ! 
[Meanwhile  the  fairies  are  mustering  into  ranks. 

FAIRY  CHORUS.    [Little  Jo  shoivs  that  he  listens  to  the 
fairies'  singing  ivith  more  and  more  pleasure.] 


214        ST.   NICHOLAS  PLAYS  AND  OPERETTAS 

(No.  15.)     Air:  "Henceforth  Strephon."—  "lolanthe." 
Where  the  summer  reigns  serene, 

Where  the  winds  are  always  low, 
Spicy  dells  are  always  green, 

Into  Fairyland  he  must  go ! 

Into  Fairyland  he  must  go ! 

Into  Fairyland,  etc. 

[Fairies  withdraw  to  the  sides,  still  singing. 

LITTLE  Jo.    [Bending  over   and  slapping  his  knees 
with  delighted  emphasis,  sings.] 

Into  Fairyland  I  will  go ! 

[The  fairies  now  return,  coming  on  from  oppo- 
site sides  with  the  steps  of  "  Dancing  in  the 
Barn,"  as  they  sing. 

FAIRY  CHORUS. 

(No.  16.)     Air:  "Dancing in  the  Barn, "adapted.      (The  first 

sixteen  bars.) 
Who  is  half  so  happy  now,  half  so  gay,  as  we  are  ? 

Riding  on  the  rainbow,  flashing  in  the  foam, 
Sunbeams  are  our  coursers,  east  to-day  and  west  to- 
morrow. 

Hear  our  bridles  jingle  as  we  lead  the  fireflies  home  ! 
Just  a  tear  would  drown  us,  just  a  sigh  would  slay. 

We  think  of  nothing,  dream  of  nothing,  to  annoy. 
Mortals,  we  believe  it,  are  only  made  of  sorrow ; 

We  are  made  of  perfume,  of  music,  and  of  joy ! 

[During  this  chorus  Little  Jo  has  caught  sight 
of  Little  Mignonette,  a  tiny  fairy,  and  has 
been  following  her  in  and  out  among  the 
groups,  the  shrubs,  and  vases,  followed  by 
White  Owlet  and  Bees'-wings,  exclaiming, 


THE  CHANGELING 


215 


and  buzzing  in  his  face  at  every  meeting. 
He  pauses  as  he  darts  across  the  scene,  as  if 
to  take  breath,  and  sings. 

LITTLE  Jo. 

(No.  17.)     Same  air  as  No.   15  (but  without  the  refrain), 
"Henceforth  Strephon." 

If  there  is  a  flower  that  blows 
Sweeter  than  the  budding  rose, 
7T  is  when  dew  is  sparkling  yet 
On  darling  Little  Mignonette ! 


WAKE-KOBIN. 


BEES'-WINGS.   [At  one  side.]    Buzz ! 

WHITE  OWLET.    [On  the  other  side.]     Tu-whoo ! 

[Little  Jo  continues  the  pursuit.    As  he  runs,  the 
Little  Men  in  Green  start  up  from  the  grass. 


THE  CHANGELING  217 

THE  LITTLE  MEN  IN  GREEN. 

(No.  18.)     Air:  "When  darkly  looms  the  day."     (Ten  bars.) 
When  moonlight  floods  the  fields, 
And  mighty  shadow  shields 
The  glades  and  glens  and  wealds, 

If  you  're  awake, 
The  Little  Men  in  Green 
Perhaps  you  may  have  seen 
Haunting  the  silver  sheen 

Of  bog  and  brake. 

O'er  dale  and  dingle  far 
Our  hunting  knows  no  bar, 
By  defile  and  by  scar, 

O'er  briers  and  thorns ; 
Through  midnight  far  and  near, 
If  you  're  awake  you  '11  hear 
In  what  wild  tunes  and  clear 

We  wind  our  horns. 

[Music  to  represent  horns  behind  the  scenes. 
They  disappear  with  their  horns  at  their 
mouths  as  the  Maidens  of  the  Mist  pass 
slowly  and  sing. 

THE  MAIDENS  OF  THE  MIST. 

(No.  19.)   Air:  "Sounds  from  the  Ball."-Gillet.      (Trans- 
posed into  the  key  of  D.) 

The  lonely  Maidens  of  the  Mist, 
Year  in  and  out  our  threads  we  twist, 
And,  moving  o'er  the  meadow-side, 
Rose-leaves  to  blushes  for  the  bride 
We  twirl,  or  distaffs  drop  and  weave 
Moonbeams  to  satin  for  her  sleeve, 


218        ST.  NICHOLAS  PLAYS  AND   OPERETTAS 


WHITE  OWLET. 

Or  scatter  jewels  as  we  sail 

Where  the  gossamer  spider  spins  her  veil. 

[As  they  pass,  the  fairies  muster  into  ranks 
again,  having  been  frolicking  in  and  out  the 
place,  and  sing,  the  Night-moth  and  the  Rose- 
sprite,  at  the  right  and  left  of  the  scene, 
marshaling  them.  As  each  fairy's  name  is 
called,  he  or  she  appears  and  does  obeisance. 

FAIRIES.    [In  chorus.] 

(No.  20.)  Air:  Duet  of  Phyllis  and  Strephon,  "If  we  're 
weak  enough  to  tarry."— "lolanthe,"  No.  10,  Act  II. 
(Sixteen  bars.) 

Why  the  hours  do  we  waste  ? 

Homeward,  fairies,  homeward  haste  ! 

Jack-o'-lantern,  lead  the  way ; 

Cockscomb,  follow  quick,  we  pray ! 

Come,  Wake-robin,  play  no  pranks 

With  the  Monk's-hood  in  our  ranks : 


THE  CHANGELING 


219 


Marigold  and  Prince's-feather, 
Fondly  wander  off  together ! 

Quaker-ladies,  Mourning-bride, 

Throw  your  modest  mask  aside ; 

Give  Snapdragon  his  adieu, 

For  Sweet-william  goes  with  you. 

Sweet-peas,  spread  your  wings  for  flight. 

Hurry  !  it  is  almost  night ! 

Come,  dark  Night-moth,  don't  forget 

Darling  Little  Mignonette ! 

LITTLE  Jo.  [Catching 
Little    Mignonette 
at  last,  sings.] 
(No.    21.)      Air:     "The 
Mistletoe  Bough,"  sung 
in  quick  time. 

1 7ve  followed  you  far, 

and  I  've  followed 

you  long ; 
I  Ve  caught  you  at 

last— I    will    sing 

you  my  song. 
For  you  're  bright  as  a 

drop  that  the  sun 

sparkles   through, 
And  you  7re  only  an 

atom      of      sweet 

honey-dew ! 
BEES'-WINGS.     Buzz ! 
WHITE  OWLET.    Tu- 
whoo  !  A  QUAKER-LADTC, 


220       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

FAIRIES.  [In  chorus,  dancing  with  a  long  swing,  first 
on  one  foot  and  then  on  the  other,  facing  the  front,  and 
supporting  the  Broken  Dolls,  who  come  staggering  on  and 
sing  jerkily.} 


THE  BROKEN  DOLLS, 


(No.  22.)  SONG  OF  THE  BROKEN  DOLLS 


Oh,  the  lone  -  ly,  long  and  lone  -  ly  way    to    Fair  -  y  -  land, 


we    've  found  it!      Dust-y,     must-y      cob  -  webs     on  -  ly, 
>i     -       m E=p:      - 


wea  -  ry,  drear-y    gar -rets  bound  it!  When  our       lit-  tie 


m 


moth-ers    lost   us,     in      the     cor-ners   where  they  tossed  us, 


AH      our  hearts  were  bro  -  ken,    and    our  heads  were,  too! 


THE  CHANGELING 


221 


Oh,     had  they  kissed  us,  had  they  missed  us,  't  would  assist    us, 


—- J-*    £=?=£ 
5^^=*==*=^ 


in     our  trav-el!    Queer-ly,  cheer  -  ly      we    would  twist   us 


as    the    cu-rious  paths  un  -  rav  -  el.      Fair  -  y    ways     are 


£ 


it- 


hard    and    hoi  -  low     when  you  have   no   nose   to     f  ol  -  low, — 


One    foot    gone,  and    gone  the     eyes  that  were   so    blue. 

[As  they  withdraw,  the  Lost  Toys  come  limp- 
ing on,  singing. 

(No.  23.)     Air :  "  Virginia  Keel." 

When  the  days  are  quite  canic- 
ular, 

And  the  sunshine  perpendicular, 

If  you  are  at  all  particular, 
You  should  go  to  Fairyland. 

There  7s  moonlight  there  to  tease 
you,  and 

There  's  strawberry-ice  to  freeze 
you,  and 

You  think  of  what  would  please 

you,  and 
It 's  yours,  in  Fairyland  !  LITTLE  MIGNONETTE. 


222       ST.  NICHOLAS  PLAYS  AND   OPERETTAS 


For  no  one  cares 

a  scapple  there 
With  any  task  to 

grapple  there; 
In    your    inouth 

the  very  apple 

there 

Drops,  when  in 

Fairyland. 
You  never  need 

articulate 
A  wish,  but  just 

gesticulate, 
When  once  you 

do  matriculate 

Inside  of  Fairy- 
land! 


MONK'S-IiOOD. 


[They  stagger  off,  and  the  music  changes,  and 
soon  in  the  distance  is  heard  "Annie 
Rooney."  Little  Jo,  who  has  been  sitting, 
whispering  to  Little  Mignonette,  in  the  center 
of  the  scene,  turns  and  listens,  presently 
hums,  and  at  the  right  point  sings. 

LITTLE  Jo. 

(No.  24.)     Air:  The  chorus  of     Annie  Rooney." 

She  's  iny  airy,  fairy,  oh, 

She  's  my  darling,  I  7m  her  Jo ; 

Soon  we  11  vanish,  won't  we,  pet  ? 

Little-little- 


\ 


iitfiipi: 

^Jlli^p'  i 

'.','•  I 


/ft     » I  { 
'.'.'     1 1  • 


;'•>- 


224        ST.  NICHOLAS  PLAYS  AND  OPERETTAS 


[Speaks.] 

Little- 

[Looks  about  won- 
deringly,  and  ex- 
claims : 

Dear  me !  that  sounds 

familiar ; 

I     've     heard     that 
strain  before — 

In  some  other  star,  per- 
haps, 

On  some  other  shore. 

It   seems   to   me  that 

really— 

[  With  recognition.] 
Oh,  they  play  it  on 

the  square, 
They  play  it  in  the  par- 

lor, 

They  play  it  every- 
where ! 

[Little  Mignonette  turns  entirely  around,  still 
sitting,  and  stares  amazed  at  him. 

But  whatever  has  become  of  me  ? 
[With  surprise.] 

They  Ve  changed  me  !     I  Ve  got  wings ! 
[With  fear.] 

What  in  the  world  these  waggles  are— 
[  With  anger.] 

There  they  go,  the  horrid  things ! 
[Tears  off  his  antennce.] 


A  SWEET-PEA. 


THE  CHANGELING 


[Little  Mignonette  makes  off  in  terror. 

I  can't  be  some  one  else,  you  know— 
[Bewildered.] 

I  've  dreamed  some  dream  or  other- 
Why— don't  you  see— I  'm  all  outdoors— 
[  With  alarm.] 

Oh7  I  want  to  see  my  mother ! 

[The  fairies,  who  have 
been  in  the  back- 
ground, moving 
about  restlessly,  and 
then  creeping  for- 
ward, now  sing 
mockingly, 

FAIRIES.  [In  chorus.] 

(No.  25.)    Air :  Same  as 
No,  7. 

Ha,  ha,  some  dream 

or  other ! 
Oh,  he  wants  to  see 

his  mother ! 

LITTLE  Jo. 

[Crying  loudly 
and  beseech- 
ingly.] 

Oh,  you  voices !    Oh, 

you  people ! 
Oh,  how  cruel  is 

your  joy ! 
I  don't  want  to  be  a 

fairy ! 

15 


MOUENING-BKIDE. 


226       ST.    NICHOLAS   PLAYS  AND   OPERETTAS 

[With  exasperation.} 

I  would  rather  be  a  boy  ! 

FAIRIES.    [Angrily.] 

(No.  26.)     Air:  Same  as  No.  5. 

He  '11  destroy  all  our  joy— 
He  would  rather  be  a  boy ! 


SWEET-  WILLIAM. 


LITTLE  Jo. 

Mother,  help  me !     Help  me,  Honor ! 

What  in  the  world  am  I  to  do  ? 
Oh,  you  know  I  love  you  so — 
Come  unf  airy  me  !     Boohoo ! 


THE  CHANGELING 

FAIRIES.    [Wringing  their  hands,] 
(No.  27.)     Air:  Same  as  No.  7. 

What  in  the  world  are  we  to  do  ? 

We  can't  unfairy  him  !     Boohoo  ! 


227 


JACK-O'-LANTEEN. 

BEES'-WINGS.   Buzz! 
WHITE  OWLET.  Tu-whoo ! 

[Melancholy  music  in  the  distance. 

CHORUS  OF  FAIRIES.    [Dejectedly.] 

(No.  28.)  Air  :  "  The  Lorelei."-Friedrich  Silcher.  (Repeat 
the  first  nine  bars  for  the  second  stanza,  and  then  continue 
for  the  third.) 


228      ST.   NICHOLAS  PLAYS  AND   OPERETTAS 

We  cannot  stay  where  tears  are  j 
They  melt  us  quite  away 

Into  the  bubble's  breaking  wreath 
And  the  water-gleam's  pale  ray. 


Oh,  call,  oh,  call  our  lady ! 

Call  with  your  weirdest  rune. 
Call  to  the  star-swale  on  the  sea, 

And  the  halo  round  the  moon. 


[All  kneel,  having  softly  surrounded  Little  Jo 
in  a  ring  as  they  sang.     A   grown-up  and 
beautiful  figure,   the  Fairy  Lady,  appears, 
pauses,  extends  her  arms  a  moment  toward 
the     imploring     fairies, 
and   passes   while    they 
continue  singing. 

Sovereign     of      the 

World    of   Dreams, 
Reverse  the  spell,  and 

then, 
Great  Fairy,  make   this 

Changeling 
Only  a  boy  again  ! 

[As  they  separate,  on  aris- 
ing, Little  Jo,  in  his 
nightgown,  is  seen  lying 
asleep  in  the  foreground. 
The  Night-moth  comes 
stealing  across  the  scene, 
COCKSCOMB.  singing  as  she  moves. 


THE  CHANGELING 


229 


NIGHT-MOTH. 

(No.  29.)  Air:  "I  can- 
not tell  what  this 
love  may  be."— "Pa- 
tience." (Nine  and  a 
half  bars.) 
Vanishing  into  the 

sunset  bars, 
Sister     of    mystical 
wings  and  of  stars, 
When   twilight  kin- 
dles a  silver  spark 
I  must  go — vanish- 
ing into  the  dark. 
[As  she  disappears, 
the      Rose-sprite 
enters   from    the 
other  side  droop- 
ingly,  and  passes, 
singing     to     the 
same  air. 

ROSE-SPRITE. 

(No.  30.) 

Soon  I  shall  fail,  I  shall  faint,  I  shall  die, 
As  the  color  fades  from  the  evening  sky; 
Life  were  too  lovely  ever  to  close 
If  never,  if  never,  one  lost  the  rose. 
FAIRIES7  CHORUS.    [Led  ~by  the  Rose-sprite  and  the 
Night-moth,  ivho  reappear.] 
(No.  31.)     Air :  Same  as  No.  15. 
Where  the  Will-o'-the-wisp  takes  flight, 

And  the  Firefly  skims  with  the  Shooting-star, 
Where  the  light  of  other  days  burns  bright, 
And  the  yesterdays  and  to-morrows  are, 


MAEIGOLD. 


230       ST.  NICHOLAS  PLAYS  AND  OPERETTAS 

Where  the  Elfin  Knight  rides,  always  young, 

Over  the  fields  where  the  wild  oats  grow, 
To  the  tune  of  the  songs  that  never  were  sung, 


HONOK,   THE   MAID. 

Into  Fairyland  we  must  go ! 

Into  Fairyland  we  must  go ! 

Into  Fairyland,  etc. 
BEES'-WINGS.     Buzz ! 
WHITE  OWLET.   Tu-whoo ! 


[Exit  fairies. 


THE  CHANGELING  231 

HONOR.    [Running  on,  picking  up  Little  Jo,  speaks.] 
Oh,  Master  Jo,  I  am  that  quaking ! 
For  when  I  found  ye  gone,  me  heart  was  breaking ! 
Sure  it  's  the  lad's  own  luck  that  Honor  found  ye 
Before  the  little  fairy  people  bound  ye ! 

LITTLE  Jo.    [Half  looking  up,  as  if  talking  in  his  sleep, 
speaks.] 

I  thought  I  saw  them,  Honor,  did  n't  you  ? 

[Exit  in  Honor's  arms . 

VOICE  OF  CHANTICLEER.    [In  the  distance.] 
Cock-a-doodle-do ! 


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books  to  NRLF 

•  Renewals  and  recharges  may  be  made  4 
days  prior  to  due  date. 

DUE  AS  STAMPED  BELOW 


*i 


12,000(11/95) 


70-- 

I  O^ 


575805 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


